ED 089 305 PUB DATE Fart, Music, and Literature

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TITLE The Humanities; A Compendium for Teachers, INSTITUTION Nashville - Davidson County Metropolitan Public Schools, Tenn. PUB DATE 71 NOTE 91p.

!MRS PRICE MP-$0.75 HC-E4.20 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Art; Curriculum Development; Curriculum Guides; Pine Arts; *Humanities; *Humanities Instruction; *interdisciplinary Approach; Literature; Music; *Secondary Education

ABSTRACT Intended to assist in the development of huaanities programs on the secondary level, this guide contains a rationale for teaching humanities, instructional objectives from the U.S. Office of Education, definitions of the concerns of the humanities, a message to teachers of the humanities, and three approaches to teaching the humanities. The three approaches suggested are the conceptual approach, which is divided into two units to discuss music, art, and literature 'under the headings of than Seeks the Diviner" and liMan Seeks Social Orderft;, the elements approach, which is subject oriented fart, Music, and literature); and the chronologicalapproach, which deals with the humanities individually by peridds:,Supplementary references are given at the end of each section. (LL) I OEPAIIIIMINT OF NM" EDUCATION I WELFARE NATIONAL INSTITUTE OP EDUCATION THIS DOCUMENT I4AS BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATINO IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY rte. t 7

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THE HUMANITIES: A COMPENDIUM FOR TEACHERS IA the Makopoti.tan Pubta. School's o 6 Nab halle Tenneaa ee 1971 THE HUMANITIES / ACKNOWLEDGMENTS

ACKNOWLEDGMENTS

Soctivi of Education C. R. Dorrier, Chairman Frank P. Grisham, Vice Chairman L. C. Biggs Isaiah T. Creswell Mrs. Irwin B. Eskind Walden S. Fabry W. 3. Harbison Mrs. C. F. Mager

THE HUMANITIES, Steeking Committee G. H. Waters, Chairman Howard F. Brown Mrs. Elizabeth K. Burgess John Dossoy Mrs. Saradale D. Frierson Charles L. Bailey Hale Harris James Hughes H. B. McDonough Beasley T. Overbey, Jr. Mrs. Margaret Rhame Mrs. Barbara Schneider Mrs. Jessica B. Strassle Edmond M. Tipton

Metitopotit4n Pubtie Schoot4 Naaatte, Tenne44ee THE HUMANIT1ESs A COMPENDIUM / ACKNOWLEDGMENTS

ACKNOWLEDGMENTS

Nucto4 oi Schoot4 Dr. Elbert D. Brooks

Ad4i4tant Supehintendent, in4 tAuctkon Dr. L. Linton Deck, Jr.

THE HUMANITIES Comittee

Mrs. Elizabeth K. Burgess, Adv4ot

Mrs. Margaret Rhame, Coondknatot Mrs. Barbara Schneider Miss Sue Senter Mrs. Jessica Strassle

Mrs. Wanda S. Hudson, EditoAiat Comatant Newton S. Holiday, Attat FOREWORD

FOREWORD This publication, THE HUMANITIESt A COMPENDIUM FOR TEACHERS IN THE METROPOLITAN PUBLIC SCHOOLS, NASHVILLE, TENNESSEE," is intended to encourage and offer direction in the development of humanities programs on the secondary level;

Along with the consideratiOn that has been given to the selection of materials, suggestions have been made as to methodology of approach; however, the challenge and the success of the programming will depend on the individual teacher or teaching team in- volved in evaluating the classroom situation and meeting the needs of the particular students.

While teaching as a team is considered best, it is the hope of the committee that many teachers will feel the urge to participate in the de velopment of a successful program.

the Hu/mkt-tie:4 Committee

iv RATIONALE

RATIONALE The lives of men reflect an infinite pattern of change. Yet, within each pattern there are subtleties of thought and emotion which reflect a unity between the man of the past, the man of the present, and, inevitably, the man of the future.

Frequently educators expose their students to fragmentations of man's crea- tiveness and endeavors, never allowing their pu- pils the satisfaction of recognizing man as a totality. The humanities approach to learning reveals the beauty, vitality, and ingenuity of the human life that has intrigued the artist, the musician, the historian, and the poet for centuries.

Such an approach can only be pursued by one who is not only well-informed, but who savors the richness of sound teaching find ef- fective learning--both of which must result in the fruition, the permanent betterment of the student.

The humanities approach leads the student to consider values. It establishes an awareness of freedom and responsibility. The student learns that, within limits, men have choices among alternatives; that these choices should be made carefully and thoughtfully; that making a choice is an act; and that acts have consequences. INSTRUCTIONAL OBJECTIVES IN THE HUMANITIES

f/tom U. S. Office of Education

INSTRUCTIONAL To introduce cat students (in- OBJECTIVES cluding the vocationally minded who will not go beyond high school) to the study of man--his nature, the full development of his faculties, the realization of his aspirations, and the secOring of his well being.

To help the student come to know himself, to understand what has shaped his beliefs, attitudes, and fortunes, and to develop a critical sense which will allow him as an individual to select and preserve the best in human societies.

To develop in the student an attitude toward life which centers on 'the inherent dignity of each individual human being.

To help the student reconcile freedom with social control.

To cultivate his understanding of the unresolved conflicts and struggles that have persisted throughout human history.

To develop his understanding of how social relations between different segments of society influence the form and content of literature and the arts.

To develop in the student an understanding of how language shapes ideas within a culture and is at the same time an expression of that culture.

To give the student the experience of personal involvement with ideas that have moved and shaped human societies. DEFINITIONS

DEFINITIONS The humanities deal with man's awareness and response to the human situation.

The humanities are concerned with the responses of man expressed through many different media.

The humanities involve man's ultivate qucstions, his search for answers, and his formulation of values.

The humanities explore and illuminate that which is human and humane.

The humanities present man in his present, looking at the past and facing the future.

The humanities deal with the behavior of the human mind and human emotions.

The humanities show ways in which man has attempted to create form out of chaos.

The humanities work toward "a solution to the problem of existence." A MESSAGE TO TEACHERS OP HUMANITIES

A MESSAGE This guide is designed as a resource for suggested approaches and materials. The selection and use of approa- ehes and of materials are entirely dependent upon the particular situation. it is the responsibility of the teacher to determine what he can expect to elicit from his students and to select the material and the approaches accordingly.

The three approaches suggested in this guide are the conceptual, the elemental, and the chronological. Lists of materials which might be appropriately used with each approach are given, but materials and ideas for presentation can be drawn from any source.

The lists and suggestions of- fered here are not exhaustive; the categories are not restrictive. The materials and suggestions can be used in numerous ways. There are as many different ways of approaching a humanities study as there are individuals to devise them.

Additional approaches which have been utilized in other humanities programs include: Culture Epochs, Great Themes, Great Works, Allied Arts (consumer and performer), Cultural His- tory, Basic Concerns Shared by All Men, and Ameri- can Studies. THE HUMANITIES / TABLE OP CONTENTS

TABLE OF CONTENTS

Acknowtedgments

iv Foteivoitd

v Rationate

vi Objeettve4: United State4 Vepaktment o6 Education

Ve6inaLon4 via A Me44age to Teachem

1 CONCEPTUAL APPROACH.

21 ELEMENTAL APPROACH

37 CHRONOLOGICAL APPROACH MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

110

MAN'S SEARCH FOR ORDER

OVERALL OBJECTIVE To increase warengss and understanding Of man s basic searches by examining the values which have determined man's pursuits and by studying the medium through which man chooses to express his concerns.

UNIT I: MAN SEEKS THE DIVINE

OVERALL OBJECTIVE To create an awareness of the timelessness and universality of man's basic searches.

SPECIFIC OBJECTIVES (1) To provide opportunity for developing an appreciation and Una knowledge of cultural traditions, and to discover a means of understanding other cultures and other civilizations.

(2) TO engender a spirit of purposefulness in examining the personal relationship between man and his God, and the individual's concept of and response to this kind of relationship.

CONCEPT Man's relation to the powers of the universe appears in three forms: as participation, as religion, and as world religion.

For purposes of this concept, paAticipation, Aetigion, and woad Attigbon assume 1 MAN'S SEARCH FOR ORDER / CONCEPTUAL ORDER

a certain characteristics:

Peattetpation is a purely physical bond.Through his emotions, through his sen- sations, and through magic, man merges with his an- cestral and totemistic demons.

Reagton is a personal, physical and mental relationship. In religion, man for the first time faces his life-giving principle in the deity per se, detached from its human descendants. Man differentiates and disconnects himself from his life-giving principle, and at the same time, recon- nects himself with it mentally. It still contains the physical bond of participation, but goes beyond the physical, biological bond.

Woad ice/U.04n, or profession of faith, is a purely spiritual relationship. The concept of world religion is the profession of a universal god as creator, lord and savior, who is no longer a biologically related ancestor.The )tonnection, sprung of faith and of confidence, \../constitutes the sole basis of man's allegiance to God. World religion.is not religion in its original senses it is a creed, a spiritual profession of faith.

MAN SEEKS Music, found in all civili- THE DIVINE Cations, appeals to the mind THROUGH MUSIC of man. Music is accepted as a vital means of self-expression and is a means of expressing emotions. It can be a vital part of every man's worship and experience. Through music, man has beenaled to see his responsibility to God and to his fellow man. In 300 B. C. Aris- totle said: "Since music has so much to do with mold- Man Seeka the Mane ing character, it is necessary thatwe teach it to our children." Through Mttsio Man's recognition of the bene- fits of music has been evidenced through theages: Pagan supplications included the "Kyrie Eleison,"sacred ceremonial dances were used to praisea god or ruler, professional mourners waileda noisy farewell to the dead, Pharoah's courtiers awakened him by singing a hymn to the sun, and stringed and wind instruments were used in temple worship.

Compositions that have been in-

2 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

spired by the Greeks include Gluck's "Orpheus and Eurydice" and Beethoven's "Prometheus."

Music played an important role in the worship of God by the Hebrew people. The sto- Muo4c of the ry of Jubal tells the origin of this music. Numerous references to music are found in the Old testament: Kebneus Genesis 4:20-22, 31121; Exodus 15, 19, 28; Leviticus 23, 25; Numbers 10:1-10, 31; Joshua 6:4-6; Judges 5; I Sam- uel 10, 18, 19; I Chronicle 25; Psalms 150; and Song of Solomon.

Music based on Old Testament themes include "The Creation" by Haydn; "Exodus,"Gold; "Noyes Fludde," Britten; "Symphony of Psalms," Stra- vinsky; "Belshazzar's Feast," Walton; "King David," Honneger; "Psalms of David," Dello &do; "Sixty-Seventh Psalm," Charles Ives; "Elijah," Felix Mendelssohn; and "Samson and Delilah," Saint- Seens.

Music historians trace the first important period of Christian church music from the time of Constantine's recognition of Christianity in 315 to Pope Gregory in 590.The Temple services were ChAtation Mach patterned after the Services in David's time. The text of Psalms could well have been furnished for the Altaic Jewish liturgical chants.

New Testament references to music also were made: I Corinthians 13 and 14; Matthew 9 and 26; Revelation 15; John 4; EPhesians 6; Colos- sians 3; Acts 4 and 16; I Timothy 3; and Luke

The Roman church brought forth a body of Latin hymns and organized the beginning of music for Western civilization. Great contributors to this development were Ambrose of Milan and Gregory of the Roman Schola Cantorum. Pope Gregory 1 (590-604) was responsible for the organization of the church's Pope Ougow 1 music. He selected from the mass of traditional music ($90-600 a grand collection of melodies suitable for Christian worship.

Earliest musical liturgy used by the Christian church came from the East. Not until the seventh century A. D., when the Roman atholio The Olugoltan church adopted Latin as its official language, did the Roman liturgy begin to deviate from the Grecian form Chant and language. Finally there were three parts of the liturgy: the Kyrie Eleison, Gloria in Excelsis Deo, and Sanctus. All were set to simple chants and sung by the congregation: The musical basis for this liturgy was 3 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

the plainsong.

Composers in music for the church continued to create for man'spleasure. From the Gregorians came "Concerto Gregoriano" Respighil "Hass Dies," Easter chant; "Hymnsof Jesus,Gustav Hoist; and Third Symphony, Paul Creston."Kyrie Eleison" was a seventeenth centuryplainsong.

Other songs from the Old and New Testaments were "Missa Brevis" and "MissaPapae Sono Om Marcelli" by Palestrina; "0 MagnumMysterium" and "0 Quam Glorlosum," Victoria; "MissaBrevis in TemPore the Otd and Belli ," Kodaly Svmphontae-Sacites Gabrieli; Veum A C Majon4 Britten; "Stabat Mater," Rossini; Choral New Tatmenta Preludes, Reger; Ctout 03 in A MAn04,Caesar Franck; The Chudgxton, Easter Cantata; "SevenWords from the Cross," Stainer.

"Now Thank We All Our God," arranged by Bach; "All Glory Laud andHonor," arranged by Bach;"B Minor Mass," JohannS. Bach; "Mass #3 in F Minor," Bruckner; "The Messiah,"George Fre- derick Handel; "Ave Verum Corpus,"Mozart; "Christ on the Mount of Olives," Beethoven; "GermanRequiem," Brehm; "Gloria in,Excelsis Deo" from "TheMass for Mixed Chorus and Double Wind Quintet,"Stravinsky.

"A Mighty Fortress Is Our God" became a musical call to the Reformation.A man named Martin Luther provided leadership inchanges that had a great influence on life and music. Muate 06 the Significant changes effected RepAmatIon were (1)a German mass from the Latin, (2)chanting of the mass, (3)pelyphonic music to the tunesof Gregorian chants, (4)congregational singing.Many hymnals were published by Luther.

The Anabaptists found the leadership in men as Conrad Grebel, Felix Manz, and Wie- kuthaptiat helm Reublim. Their doctrines and martyy'domswere expressed in Anabaptist hymnody. The main sources of their tunes were liturgical, pre-ReformationGerman sacred songs, and folk songs.

Music held an important place in the life of colonial America. Their books of Psalms included The PitgAim Natal The BaySong Nattm New Engtand PhatinSingea and The Sing Matekt4 A44ia/mt by Billings; and The Seteeted Hamony by Andrew Law. Lowell Mason became known as the Father ofAmerican Church Music. The singing school served MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

as a musical training agency and as a community social center.

Music of the gospel song suould stem from a vital Christian experience in order to in- duce such experience in the hearts and lives of wore 004pet Mute shipers. A gospel song must stand the test of time. Isaac Watts, a prolific hymn writer, wrote 760 or more hymns. William Cowper and John Newton revived many hymns, but wrote many on their own. Dr. George Pullen Jackson collected and arranged 550 folk hymns.

The American Baptist hymnal had two principal sources: the English hymn writers and American folk writers. The two sources of tunes were tlopttat the standard psalms Americanized and English folk tunes. Early Baptist hymnody included The P4atm14t Hymnody by Lowell Mason and Dr. Samuel Smith, and The Nab% and Hymns by Isaac Watts.

Examples of hymnody of the South were A Setection o6 Hymn4 plom VthaU4 Authou by John Courtney; Wintey'4 8apti4t Paatnody by Basil Manley, Jr.; P6d2W4 and SpiAituat Songo and BuadMan Hymnat.

The Methodist church had its be- Method:4C ginning with John and Charles Wesley. They were sent by the AnOcans to help stabilize the Georgia Colony. Hymnody A collection of Psalms and hymns was printed in Char- lestown, South Carolina,. in 1737.

Other Methodist musical literature flourished through the years:The Pocket Hymn Book, Cottection oi Hymm4 OA We in the Methodt4t Chutch, Tune Book o6 the Methodt4t4, Eptacopat &melt South, and The Methodist Hymnal.

Pke4bytertian Presbyterians received the spiritual heritage of John Calvin andthe musical heritage Hymnody of the psalter (Puritan psalter and Nubia o David in English Meter by Francis Rous). The Scottish psalter was also based on Rous's psalter.

Their hymnals included The ay- mouth Cottection by Henry Ward Beecher, The Chutch P4atmi4t, The Pkeaytekian Hpotat, and The Hymnal.

The development of the Christian churches and the churches of Christ brought about new recommendations for music in their worship experience. 5 MAN'S SEARCH FOR °Raiz CONCEPTUAL APPROACH

MAN SEEKS THE "Thou shalt not make unto thee DIVINE THROUGH any graven image, or any like- ART nets of anything that is in heaven above, or that is in the Old earth beneath, or that is in the water under the Tuktament earth" Exodus 20:4.

The ,reputation of the old He- brew musicians was considerable and the evidence of Akthst Lc their skill as lyric poets is manifest in the and elsewhere, but their legacy of artistic achieve- Legacy Limited ment is so small it is almost nil.

Aside from the engraving of gems for seals and signets, and the carving of ivory, there is no decorative work of distinction. There is a no- ticeable absence of representational art, either painting or sculpture.

The Hebrews were basically nomadic people; hence, any architecture was-fairly primitive. During one brief period of affluence, throOgh King Solomon's development of the copper industry and his cultivation of foreign trade, they were in a potition to enrich and beautify their capital city of Jerusalem with a temple. For this they had to import Phoenician craftsmen to carry out Jelwatem the work. All of this was destroyed in the sack of, di6tA0Yed Jerusalem by Nebuchadnezzar of Babylon in 587 B. C.

Paintings reflecting this period are Michelangelo's The Ckeation (on the ceiling of PaEntiAg.s the Sistine Chapel), Baciccio's The Sackiiice o Isaac, Ourer's Lot and Hi4 041Aghtera, Veronese's Re becca at the Wett, Bacchiacca's The Gatheking otS Manna, and Brueghel's The Towek o6 &bet.

Sculpture inspired by the Old Scaptme Testament includes Verrocchi's David, Michelangelo's David, and Flannagan's Jonah and the Whate. The ShAine o6 the Book, designed` to house the Dead Sea Scrolls, and Thkee Men in the FWLy Faknace, a fresco Akchitectake in the catacomb of Priscilla, are other works of art drawn from the Biblical period.

The Bibte has inspired more art New than any other source of inspiration. Many artists, Mamba Particularly ones from the early Christian times to the Renaissance, have created works depicting scenes from the life. of Christ. Frequently portrayed are the annunciation, the visitation, the nativity,- the Madonna and Child, the holy family, the flight into MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

Egypt, the presentation in the Temple, the calling of the apostles, Christ at the Sea of Galilee, the raising of Lazarus, the transfiguration, the last supper, the betraYal, the crucifixion, and the descent from the cross.

The more famous of the paintings done of saints include Caravaggio's St. Matthew Panttngs and the Anget, El Greco's St. John the Evangettst, 04 Sa4t.4 S. Andkow, St.. Phttip, St. Pam. the Penitent, St. Luke, and St. Makk, Giotto's St, ,F4anci4, Foppo's St. Paut, and Giovanni's St. Jeume in the 0Wetness.

Other Biblical subjects.haVe °theft been used in works of art:Mt/Lade 04 the Loaves and 00144at F4.4h (a mosaic at St Apollinare, Ravenna), The Conuek- SubjeUs 4i0n 04 St.'.Paut (a painting by Michelangelo), chkist tn Otocy An the TetAcarocioh (a tapestrY on the east wall of Coventry), The rout Hocaemen (an engraving by DUrer), and a work in stained glass in the baptis- try of Coventry.

Mythology also reveals man's search for the divine. Paintings based on the legends and myths are represented by Bacchus and Aki- adhe by Titian, Ryder's Pegasus, Goya's Kowa DeStAo ag One 04 WA Sono, Hoffman's 8acchanate Russe, Bot- ticelli's The Bath o6 Venus, and Caravaggio's The Patatings Youth 6u Bacchus. and Seutptuft Other mythological characters own the myths are portrayed in Greek sculpture, such as Nike Loaaen- ing Hen. Sandat, and in Hellinistic sculpture Medusa LUCOVi4i. Michelangelo created the frescos on the ceiling of the Sistine Chapel, The Sava, and Phidias contributed sculptures for the Parthenon.

Eastern religions also served Eastem as a source of inspiration for artists. Buddha's in- Retigions fluence is evidenced in the statue The Recttning Buddha, carved from rock in the famous Ajanta caves in Central India (483 B. C.). Other works include Buddhimn Chinthe (a statue of a mythical lion-like animal). The stupa4 at Pagan (houses for Buddha relics), and Kuan Vin (statue of Chinese Goddess of Mercy).

Much of the simple eloquence of Japanese art and much of the formal frugality Zen characteristic of Japanese life are directly inspired MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

by Zen. Recently Zen has attracted a great deal of attention from Western intellectuals and artists who have been drawn to and stimulated by its ideas of simplicity and intuitive inspiration. The Zen influence can be evidenced in Graves's painting Pneen- ing

Coniudantom The Tempe of Coquatu4 in and Peking is reflective of Confucianism. In accordance 1.404.6M with tradition, there are no images or statues of the sage in Confucian temples, only tablets with his

name, The Phito.sophet Leo Tzu, done by an artist of , the'Sung Dynasty, is a product of Taoism.

Artistry from the Islamic religion includes the Mosque o Ibn Tutoun (Cairo); 14tran the Mosque o6 Ahmed 1, the8tueMasque (Istanbul); Persian carpets; pottery; metal work; and an illus- tration of a poem by Nizanni entitled Latta and Majnun.

SUPPLEMENTARY Additional references for the REFERENCES teacher's assistance are listed here; however, vast resources are available forfurther study.

Sign and Symbots £t ChAif,ttan Alrtby Ferguson; Att ThAough the Aged, Gardner; The Relight-he-P..4 Worttd14 Guat Retteton4, editors of Use; 2000 Vow osChAUtian Ara, Newton and Neil; Eatty ChAtAtian AtehiteetuAe, McDonald; and Medievat AAchtteetwte, Saalman.

Red Among helpful readings are Goths, GAave4 and Schotaia, Cernan; Giotto, Battisti; The Agony and the Ee4tacy, Stone; and Et Gkeco, Bronstein.

Recommended are the sound film- FionaAip6 strips from the Lives of Old Masters Series (Michel- angelo, El Greco, Francisco GoYa), along with "Four Great Churches," "The Gates of Paradise," and the LI6e filmstrips, all of which have accompanying texts.

Films available fromthe Mater- Wins ial Center of Metro Schools are "Michelangelo" and "Chartres Cathedral." From the Nashville Public Li- brary "The Titian" and "Leonardo da Vinci" may be obtained. "Seven Hundred Years of Art," a slide-lecture presentation is available from the National Gallery. MAN'S SEARCH FOR ORDER /CONCEPTUAL APPROACH

MAN SEEKS THE An infinite number of literary DIVINE THROUGH selections are available to LITERATURE serve as a basis for exploration in man's search for the divine. The following suggested topics andliterary works are intended to serve as a catalyst for deeper study.

Compare myths and their use in literary works. (1) Eteetita, Sophocles; Agotewnon, myths amentdes, Aeschylus; Eteotta,1phigexia4.4t Tawas, OmAttA, Euripides; Eteetta, Giraudoux; The Ftte.$) Sartre; The HouAe 04 AtAeus, Lewin; Moulming !Meow Etectica; O'Neill. (2) the Holy Grail legend; Nazi- iat, Wolfram von Eschenbach; The WasteLand,T. S. Eliot.

Investigate the different ways material from the Bible is put touse. The NalatAge The asea of o Heaven and Hett, Blake; Paudt4e Lost, Milton; aatteat Mateittat The PiAstboAn, Fry; Exodu6, Uris; Noyes F,Paidde; Sa- tome, Wilde.

Note references to Christ in literature, "On the Morning of Christ's Nativity," Reimence4 Milton; "A Ballad of Trees and the Master," Lanier; Chictst Quern Q0nea44, Trope; Luaus laughed, O'Neill; A Fabti, Faulkner; "Journey of the Magi," T. S. Eliot; "Dear Judas," Jeffers.

Compare religious texts. The Holy and The Kotian; the 4904pet 04 John and Retigtous Texts Bahgavad-altdu Caedmon's HYmn and "Creation Hymn" from Rtg-Veda.

Consider the religious influences (esPedially Christian influences) in writings

1:ittetn .tat that are not specifically cr primarily related to Lltekatuxe religion. The CanteAbutcy Tates; The Eve 04 St. Agne4) Keats; The Sound and the fury, Faulkner; "The Cotter's Saturday Night," Burns; Arthurian literature.

Compare translations. King Tunstatons James Version with other versions of The Holy Sates 04 the 818LE King James translatiOn of the Psattns and the Bay Foam 800h.

ComPare the sermons of John Donne Eduatds andDonne with sermons of Jonathan Edwards.

Endeavor to draw a relationship Vuotvz and Rauat between drama and church ritual: historical) origins, MAN'S SEARCH FOR ORDER CONCEPTUAL APPROACH

common elements.

etteeh thatto.6 Determine the role of religion in the Greek dramas.

Puma and the Investigate the relationships &MA between drama and the Christian church.

Point out the pagan and Chris- Paganimn tian elements in Beowutli. Stout Study religion in the courtly Rat atonand love tradition. Love Putdition Compare Anouilh's Becket and Eliot's Muhdek in the Cathedtat.

Find evidences of Christian Ch44.4ttan elements or observances in literature. MOnt-Satnt- eAvanee4 Miehet and Charttua (symbolism: the cathedral); "Our Lady's Jug9ler" (reverence-for Mary); The Ctu- eate (Puritan doctrine); Requtem bon a Nunl(religious orders; requiem); "Ash.Wednesday" (Holy day in the liturgical year); "The Habit of Perfection" .(religious orders).

Trace "the Savior" pattern in S4V4.04Pattern literature. The CocktattPaAty, The CAucate, Requiem 6ok a Nun, A Fabte.

.Compare Martin Luther (Osborne's Latheic and Booth Luthet) with General William Booth (Lindsay's "Gen- eral William Booth Enters into Heaven").

Consider St. Joan and Becket as St. Joan and Becket martyrs. Shaw's St. Joan and Eliot's Multde4 in the Cathedrta.;

Investigate themes of the devil, Peat, Hat, hell, and man's fall. Pakadi4e Loat; The Magteat Man's Fatt Hiatony of 04. ratatta, Marlowe; Fauat, Goethe; The *midge off Heaven and Nett; 'The Day of Doom," Wiggles- worth; "Sinners in the Hands of an Angry God," Edwards; No Exit, Sartre.

Trace Journeys in The Divine Journeys Comedy,Fauat The PitgAim'a Nogte4a.

Note the treatment of death:in itlukdek in the Cathedkat; St. Joan; Faua;"Death Be Not Proud," Donne; "Thanatopsis," Bryant; "Crossing

10 MAN'S SEARCH FOR ORDER / CONCEPTUALAPPROACH

the Bar," Tennyson; Ridem to the Sea, Synge.

Analyze women as primary Women aa characters. The Coehtatt Pasty, Requiem 60ha Pitimity Chametem Nun, Electra, Iphigenia, Salome, St, Joan, Antigone by Sophocles.

Note Faulkner's use of "Ode Fautkneit on a Grecian Urn;' in The Bean.

Compare the Rubatyat with Rubatyat Wordsworth's "Tintern Abbey"or "Intimations of ImmortaliW or with Bryant's "Thanatopiis."

Supptementray Supplementary references ReSekencea that might assist the teacher are listed here only as a token of the larger selections available.

8 und. The &Leek ExpeAt- enee Bowra; The Five ,t4 oCited Religion, Mur- Baehpound ray;The Hidden Gods Studita Hemingway, Fautknet, Reitheneta Yeat4, Etiot, Watten, Brooks; F'win Ritual toRomance Weston; The ScAlptuAta Oil Mankind, Braden; Man Seeks' the Divine, Burtt; The Wadi &A MeaninginUde (Readings in philosophy), Davidson.

RettAtoirTextsand W Retigioua The Teathinga oI5 the Coma44 nate Budari, e Texts o6 Conduciaa, Mahabhakata, Ramona, Upamt4hadd.

Sutlineh'a Mythology, Myths Mythology, Hamilton; Thi7Uotden Sough, Frazer; Meta- moliphoaea, Ovid; The Ringof .theNibetung, Wagner.

Guth &Lama. Oedipus Rex, Oedi- Cheek Dula pua at Colonu4, SophoffigrNumnetheu4 Bound,114:Seven Against Thebes, Eumemidea, Aeschylus; 1phigeniaat Autia °A.e.4.te4, The Sada, The PhoenicianWomen, Euripides; The Und6, Aristophanes.

&LeekThemesT _844 ;tat- Greek Themes, ouaFigunea. atBrG_ry; ;;MOc sh;, ittaglowsFigu4ea

R 0124 E eaatona4nPo Ret4iou4 Olneyhymns: "Oh For a oser a w °C'' ere Exp0444ion Is a Fountain Filled with Blood," and "God Moves)n a Poetty Mysterious Way." N.44444Aough .the Medieval! Pekiod. A aiion otf PaCcATTUumianriTeatnnhe it MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

Body and the Soul"; "The Pardoner's Tale" from The Cantekbuky Tata; Everyman; Abraham and Isaac; The Ptay St. George.

The Twentieth Ceier. ELmex twentieth Gantry, Lewis; The Hattow Men, Eliot; "Gods Grandeur," Century Hopkins; "The Second Coming," Yeats.

Phito.sophicae Man. The Teaching oti Reverence icok Use, SCEWeitzer; Man and Superman, Phit000phicat Shaw; "The Road Not Taken," Frost; "Do Not Go Gentle Man into That Good Night," Thomas; "When I Have Fears," Keats; "The Chambered Nautilus," Holmes.

UNIT II: MAN SEEKS SOCIAL ORDER

OVERALL OBJECTIVE To extend the individual's awareness of the forces of culture which insure his freedom, his individuality, and his creativity.

SPECIFIC OPJECTIVES (1) To illustrate ways in which man has attempted to Unit 2 create form out of chaos.

(2) To engender a climate of open-mindedness, an attitude of inquiry, and a know- ledgeable basis for personal choices.

CONCEPT It is only through active involvement with the human endeavor that man achieves a synthesis of the frag- mentary and conflicting forces which determine his response to his environment.

Literary selections presented le&Vhere are related to five segments of the overall

OPUS theme, "Man Seeks Social Order."

Work. "Two Tramps in Mud Time" and "The Death of the Hi FEa Man," Frost; "A Cotter's Saturday Night," Burns; "The Diver," Hayden; "I Hear Worth America Singing," Whitman; "Neighbor Rosicky," Cather; "Under the Lion's Paw," Garland; "When I Consider How My Life Is Spent," Milton; "The Chimney Sweeper" from Songo co6 Innocence, bake; "The Solitary Reaper," 12 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

*Wordsworth; "Ulysses," Tennyson; The Adding Machine, Rice; The Gta6,6 Menagexie, Williams; Liie on the Mi6.6.14.6ippi, Twain; Up room Seaverw, Washington; My Land, What a Moming, Anderson; Out o6 My We and Thought, Schweitzer.

Dui n6 ion Pteautne. "L'Alleg- ro" and "Il Penseroso, Mi ton; aiiiiiTs-aUpon West- minister Bridge, September 3, 1802" and "To the Cuckoo," Ve64.Ans Wordsworth; "Pied Beauty," "Hurrahing in Harvest," Hopkins; "To Helen," Poe; "The Deacon's Masterpiece," don Holmes; "The Celebrated Jumping Frog of Calaveras County," Twain; "Stopping by Woods on a Snowy Evening," Ptea6uxe Frost; "Kubla Khan," Coleridge; "Loveliest of Trees," Housman.

The Taming of the Show, Shakes- peare; Txavet6 with Chantey, Steinbeck; Rubayat, Khayyam4The Ctassics Receassiged, Armour; Beatty Poetity, Nash; "Ode on a Grecian Urn," Keats; "How Do I Love Thee?", Browning.

Potiticat Man. "The Man He Killed," Hardy; "Not to Keep," Frost; "WaFIS Kind," Crane; "Old Ironsides," Holmes; "Ichabod," Whittier; "Concord Paiticat Hymn," Emerson; "On Civil Disobedience," Thoreau; "Home Thoughts from Abroad," Browning; "The Prisoner of Man Chillon," Byron; "London, 1802," Wordsworth; "Shine, Perishing Republic," Jeffers.

The LUad, Homer; The Bixd6, Aristophanes; The Seven Againat Thebe61 Aeschylus; Antigone, Sophocles; The Trojan Women, Euripides; rtiat of Socrates, Plato; Beowu24; Song o6 Rotand; The Faetie Queene, Spenser; Harneet, Macbeth, Jutius Caesar, Shakespeare; Guttivet's Txavet6, Swift; The Tate oti Two Citie6, Dickens.

Creative Man. Pa.stortats, Theo- critus; "The Banjo Player," Johnson; "Jazzonia," Hughes; CneatLue "Ulysses," Tennyson; "Ozymandias," "Ode to the West Wind," Shelley; "The Hollow Men," Eliot; "The Keyboard," Man Verlaine; "Musee des Beaux Arts," Auden; "Sailing to Byzantium," Yeats; Look Homewartd, Anget,Wolfe; My Heartt's.in the Hightand6, Saroyan; The Sad Soprano, Ionesco; "The Plan of a Salt-Cellar," Cellini; "Ars Poetica," MacLeish; "Fiddler Jones," Masters; "Goya," Voznesensky; Essay on Crt,i,tizi,sm, Pope.

Soeiotog4eg Man, The Teachings the Compassionate Buddha, Buddha; The Anatect6, 13 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

Confucius; Agamemnon, Aeschylus; Oedipus Rex, Sopho- cles; Eteetna, Euripides; The Ceouda, Aristophanes; The Ant o6 Couktty Love, Capallanus; Othello, The Merchant o6 Venice, Shakespeare; The Mi4en, Moliere; "The Deserted Village," Goldsmith; Led Mi4ekabte4, Hugo; The Lady o6 the Camettia4, Dumas.

Bitty Budd, Melville; The Scak- tet Letter, Hawthorne; Wine4bultg, Ohio, Anderson; Siotek Catkie, Dreiser; Showboat, Ferber; Playboy o6 the We4tekn Woad, Synge; The Ctucibte, Miller; "For the Time Being; Chorus," Auden; Otd Po.64con'a Book o6 Pizacticat Cato, Eliot; "Chicago," Sandburg; "Mend- ing Wall ," Frost; "Richard Cory," "Miniver Cheevy," Robinson; Spoon Riven Anthology, Masters.

"Song to the Men of England," Shelley; "To a Young Girl Leaving the Hill Country," "A Black Man Wks of Reaping," Bontemps; "Penn Sta- tion," "Late Corner," Hughes; "Wisdom Cometh with the Years," "Saturday's Child," Cullen; "Full Moon," Hayden; "The World I See," Evans; "Christmas 1959 et cetera," Barrar; Vea.uce Under the Etm4, Dickens; The Octopus, Norris; Anima Farm, Orwell; "There Was a Child Went Forth," Whitman; A Dat'4 House, Ibsen.

"The Outcasts of Poker Flat," Harte; "The Cloak ," The Oveteoat, Gogol; Cny, the Betoved Country, Paton; "The Bet," Chekov; USA, Dos Passos.

As with literature, art also reveals man's search for order. Work. Art works honoring man's work include painfiF such as Cotton Pickens, Georgia by Benton, Dove's Ftouk Mitt Abatkac- Wog tion, Moses's Sugaking Up, Corbet's The Stone Bneaken4, Panting4 Picasso's Woman ironing, Van Gogh's Return otc the Minns, Millet's The Hakvat and The Gteanen4, Chardin's Kit- chen Maid, Vermeer's The Lace Matzen., and Degas's Reheak- 4at oi the Ballet on Stage.

Scuti:xtuu Sculptures dealing with man and work are represented by Villon's The Home.and Boudin's Washerwoman on the Shored o6 La Tongued. Notable ar- Akchitectune chitectural structures are the Styling Building, General Motors Research Center (Detroit) and the Johnson Wax Company, Research Center (Racine).

DeaignaicLt. Pteaaune. Paintings reflective of man's designs foTOleasure are Bosch's 14 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

2.144VYLig:1 The Ganden o6 Detights, Dufy's Racetrack at Deau- Mame: vitte, Monet's Water Laies, Renoir's Le MowUn de La Gatette, Matisse's The Dance, Brughel's Paintings Chia/ten at Play, Fragonard's The Swing, and Le- brun's Mexican Skeet in the Rain.

Representative sculptures for a design for pleasure include Apple's Tunpin 6/3/6 Scu4latuke (neon sculpture), Giacometti's Patace at 4 A. M., Ro- dia's Watts Towe,t, and Picasso's Baboon and Young.

The Sports Palace at Rome is an example of man's design as seen in architecture. Atchitectute Other works are the State Fair Arena in Raleigh, North Carolina; Kalita Humphrey Theater and the Theater of Epidaurus, both in Dallas.

Cteative Man. Man's creativity Cteative Man: may be evidenced in paTTERTfliTaTal as Mount's The Banjo Ptaye&, Seurat's The Patade, Raphael's Plato and AAi4totte, Delacroix's Dante and ViAgit in Hada, Painting4 Dufy's Mozart Concerto, Picasso's Po/Et/mit '96 Ambtoze Votta4d, Caravaggio's The Musicians, Shahn's Sitent Music, and Chagall's The Green Viotini4t.

Other representative works in- Scutpttae, elude Lipton's sculpture Atchanget and Lipschitz's Woodcutz, Man with Mandolin; a woodcut by Frasconi entitled Architecture Atbett Einstein; and Frank Lloyd Wright's archi- tectural design in the Guggenheim Museum,

Sociotogicat Man. Art work Sociotogicat denoting social comment is revealedTIT Trumbull's Man: Dectatation oti Independence, Del acroi x's Libetty Lead- ing the People, Shahn's Tki. Is Nazi. Btutatity, Pip- Paintings pin's Mt. Prejudice, Munch's Anxiety, Evergood's The New Laza.'w6, Picasso's Blind Man'4 Meat, Lewis's FoA- evet Ftee, and Pippin's John Brown's GoLng .to Hi4 Hangikg.

Work. Man has revealed his attitude toward work in numerous musical selections. Work Operas representative of the selections are Massalov's Steele Foundry, Wagner's SiegliAied, Bizet's Carmen, and Rossini's The &then otc Sevitte. Other works include McDonald's "Dance of the Workers"; folk songs such as "The Erie Canal," "Shenandoah," "Sacramento," and "Drill, Ye Tarriers, Drill"; musicals: Wilson's The Music Man, Rodgers's Pat Joey, and Adler and Ross's The Pajama Game;and work songs; "I Been Workin' on the Levee," "Casey Jones,".and "Down in a Coal Mine." 15 MAN'S SEARCH FOR ORDER / CONCEPTUAL ORDER

oh Paauhe. "Edu- Ortaxt4112., cation has no more serfda-fisponsibITIVthan making adequate provision for enjoyment of recreative leisure." --John Dewey.

Mysic reflecting man's recreative art includes Foss s folk operathe Jumping Frog of Calaveras County"; Weill's "Down in the Valley"; and Bryan's "Singin' Billy." Olondells °Richard the Lionhearted" is an example of the music of the, early troubadours. Folk Music has evolved from various countries: "All Through the Night" (Welch); "Auld Lang Syne" (Scottish); "Alouette" (French Canadian); "Der Tannenbaum" (German); "Barbara Allen" (English); "Deep River," The Erie Canal," and °Turkey in the Straw" (American).

Other musical compositions con- tributing to man's pleasure are Tschaikovsky's "The Nutcracker's Suite," Sthumann's "Carnival," Handy's "St. Louis Blues," Benjamin's "I Don't Wantto Set the World on Fire," along with music of the Fisk Ju- bilee Singers, songs from Shakespeare's plays, and madrigals.

Humorous characters and characteristics in music may be noted in Debussy's "Galli- wog's Cake Walk," *Mozart'sThe Magie Mite, Newman's "Green-Eyed Dragon," Rimsky-Korsakov's "Dance ofthe Tumblers," and Gounod's "Funeral March ofa Marionette."

Music from Broadway, the hub music, is represented by Lerner and Lowe's etaVetlitorBerlin's "Easter Parade," Porter's "Kiss Me, Kate,"Gershwin's "Porgy and Bess," Arlen's "Wi- zard of Oz," and Styne's "Funny Girl."

Patiticat Man. Man's political involvements are reflected in the campaignsongs used by American political parties, the nationalsongs of all countries, andwar songs. "the Marseillaise," "The Star-Spangled Banner," and "John Brown's Body" are representative of nationalism. From World War I. came "Pack Up Your Troubles," "Over There," "Keep the Home Fires Burning," and "How You Gonna Keep 'Em Down on the Farm." "The Last Time I Saw Paris," "Remember Pearl Harbor," and "From the Halls of Montezuma"emerged during World War II.

eteative Man. Real performance is as creative an act as composTtron. Performance is the completion of a musical work. ArtistS who have achieved greatness include Louis Armstrong, Richard 16 MAN'S SEARCH FOR ORDER /CONCEPTUALAPPROACH

P , Burton, Cab Calloway, Xavier Cugat, Duke Ellington, Andre Kostelanez, Henry Mancini, Elvis Presley, Billy Rose, the Stonemans, Minnie Pearl, Floyd Cramer, Al Jolson, Steve Lawrence, Mary Martin, David Rose, Dimetri Tiomki, Van Cliburn, Chet Atkins, Boots Ran- dolph, and Anton Rubenstein.

Sadao tea Ma. Scores of musical compositions have revea eman's sociological self: Kern's "Showboat," Gershwin's "An American in Unettotoglea Paris," Strauss's "Don Quixote," Bloch's "From Jewish Life," Debussy's "The Engulfed Cathedral," Dvorak's "Songs My Mother Taught Me," Schumans "American Fastival Overture," and Rodgers's "The King and I."

Folk dance and folk songs stem from the people and are natural outgrowths of social situations: "Scarborough Fair," "John Peel," "Lord Randall," Copland's "El Salon Mexico," Loeffler's "Memories of My Childhood" (life in a Russian village), Skilton's "Two Indian Dances," Gillis's "The Alamo" (tone poem for orchestra), Siegmeister's "Ozark Set," and Gilbert and Sullivan s "H. M. S. Pinafore."

Other works include Gounod's "Romeo and Juliette," Bernstein's "West Side Story," Loewe's "Camelot," Stravinski's "Pirandello's Dream," Aleichem's "Fiddler on the Roof," Berlioz's "Kreisler- lona," Kern's "Mark Twain," Grenados's "Two Books of Goyescas" (inspired by Goya), Barber's "Knoxville, Summer 1915, and songs of Stephen Foster "Jeannie with the Light Brown Hair," "Beautiful Dreamer," and "My Old Kentucky Home."

MAN SEEKS For the development of one SOCIAL ORDER: of the ideas, sugges- "WORK" tions for the implementation Devaoratento6 of activities and materials in developing worthwhile multidisciplinary learning the thole "wok" experiences dealing with a specific themeare presented here.

Theme "Man's Response to Work" is an illustrative theme that might be utilized in a unit entitled Westward Expan- sion. 11 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

OBJECTIVE The objective is to show how man has fulfilled and perpetu- ated himself through various interpretations of work.

CONCEPT One's work is his blessing, not his doom.

ACTIVITIES Report on the lives of James J. Hill, Cornelius Vanderbilt, and Annie Oakley.

Represent authentic early dress, for example, the cowboy (Spanish influence) or the Mormons.

Research and reconstruct model We6.twand of an early mining camp, for example, Silver City. Expand on Discuss native materials available.to pioneering America. How did these materials determine the design of their architecture?the folklore? the music? their family life?

Research the native backgrounds for influences on art, architecture, literaturesgovern- ment, and .ousic; for example, Georgian influenceon public buildings, first homes similar to thatch roofed dwellings in England, Swedish log cabins.

Report on lives of pioneer painters: Audubon, Federick Remington, George Caleb Bingham, George Catlin, Alfred Miller, Charles Russell.

Write and produce an original historical pageant using folk themes, incorporating art, literature, music, dance.

Prepare radio or TV scripts in volving the historical background and folk ideasre- flected in the Westward movement.

Research cxamples of early jour- nalism (for example, William Allen White in the Gazette) and construct a newspaper that would deal with the progress and the problems of the early western settlers.

Investigate ways in which work becomes fun through group participation; suchas the quilting bees, house raisings, harvesting,corn shuck-

18 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

ing.

Relate different kinds of work mentioned in Whitman's "I Hear America Singing" to kinds of work found in folksongs. Construct a collage or assemblage using the themes suggested by the poem.

Collect and compile a glossary of words including their origins which have come through various kinds of work, for example, 44,4,- ahoota (American); adobe and catty u (Spanish); gumbo (African).

Pr-,e4ce a map showing origins of folklore and folksongs.

Write a folksong or folktale relating to a kind of work with which you are familiar.

The Western environment provides inspiration for the creation of significant art expressions. Point out other works to add to this list: Gtand Canyon State, Watoippi Suite, Cowboy Rhap4ody, James F. Cooper, Rousseau, Hudson River painters, Thomas Cole: COMO. 06 the Btolke Settie4, "I Hear America Singing," Bret Harte.

DISCUSSION IDEAS What does this tell you about frontier women: "If it's ever told straight, you'll know it's the sunbonnet and not the sombrero that settled this country"? --selection from Edna Ferber's C4matkon.

The white men made, and broke, many treaties with the Indians in which Indians conceded some lands and were guaranteed their pos- session of the remainder. If those treaties had been carefully observed, what would have been the effects upon the America of today?

Consider the legality and morality of the vigilance committees of mining towns.

Work brings about man's creative responses in the making of songs which he uses as a part of work experiences: "Drill, Ye Tarriers, Drill," "Blow the Man Down," and "Erie Canal."

Cite evidences of qualities

19 MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH

which the early settlers admired, for example, the strength of the pioneer woman (as in writings of Edna Ferber), the determined spirit of the pioneer man (cattlemen and nesters), the strength of Paul Bunyan, and the skill of Pecos Bill.

Find reflections of different types of work in folklore and folksongs.

Notice evidence of the spirit of settlement found in works such as The Red NW. Oktahame, and "Under the Lion's Paw."

Investigate how the Western expansion brought the establishment and growth of urban areas. Cite specific examples such as Chicago (Sandburg's "Chicago"; Red Grooms's "Chicago". the Roble House; musical selections from the filmCiatneo Carpenter's Skosempem) Illinois Institute of Tech- nology), San Francisco (the song "San Francisco" and significant cultural institutions, such as the San Francisco Symphony, legitimate theater, De Young Museum, and influence of the Chinese community on the city), and Salt Lake City (architecture of the Mor- mon Temple and Tabernacle.)

20 ART' / ELEMENTS APPROACH

ELEMENTS By studying the medium employed APPROACH in creating art, music, and literature, the student may grasp a new awareness of the qualities that contribute to the aesthetic value of a work of art.

ART Line is the most basic of the elements of the visual arts. Through line we may achieve a feeling of depth called Use perspective. Perspective may be achieved in drawing and painting in several ways: overlapping and diminish- ing the size of objects, shading (giving form to shape), linear perspective (use of vanishing paint), and aerial perspective (things close are clearly defined; far away, less clearly defined). Examples of these techniques may be noted in De Chirico's Metanehoty and MyateAy og a Street, Trumbull's Veetaution oi independence, and Goya's Execution on the ThiAd oi May.

Value is concerned with the use of light and dark. Value produces contrast, as well as Value volume and depth (by means of highlights and shadows). Examples of works reflecting value are Rag olf the Medusa by Gericalut, Seven A. M. by Hopper, and Metopea on Parthenon.

Coto& has three aspects: value, Coto!. hue, and intensity. The hue of orange can be changed by adding more yellow or red. The value of orange can be changed by adding more black or white; the intensity, by adding more blue. Because colors are either warm or cool, they bear psychological and emotional connotations. Van Gogh's Cage de t'AteazaA is an example of the use of warm colors while Cezanne's CaAd PtayeA4 reflects cool colors. 21 ART / ELEMENTS APPROACH

The way a thing feels or appears texture to feel is known as texture. The painter can vary the texture by the surface on which he works, by the type brush or paint he uses, or by the manner in which he applies the paint.

A sculptor varies texture by the type stone he uses, the type tool with which he carves, or by the finishing of the surface on which he works. Examples of various textures can be noted in The White Flower by O'Keeffee, Van Gogh 's Se ti Pottilatt, Flannigan's TAtumph o6 the Egg, and Arp's Human Cone/at-ion.

Volume and space are depicted Volume and in positive and negative forms. Volume can be thought of as the material of a teacup and the inside of the Spade cup as the void. The, more space that is included in a'design, the less the weight appears to be. Works for study in volume and space are The Pakthenon ChattAt4 Cathedteto Henry Moore's Reetining Nud¢, Durer's Agony in the Goodin, and Rembrandtls Agony in the OdAdin.

MEDIUMS AND Tools employed in drawing are rectimmum the pencil, pen, ehateoat, Mediums and ehatk, peatet, eloyon, and bush. Types of drawings include the sketch (abbreviated Teehnique6 form), study (preliminary to a more ambitious work), eaktoon (for transfer to another surface), and the Unawing &owing (intended as a complete work of art).

John Marin's seascapes are examples of the use of tmumpartent week otos, com- Painting posed of ground pigment with a binder usually of gum arabic or glue. Opaque watek eotok, a water base paint with white pigment used for light, includes tempera (used by Andrew Wyeth), gouache (used by com- mercialartists), and casein (used by Rico Librum).

Ott4 are pigments mixed with a slow drying oil such as linseed. The paint is thin- ned with turpentine and may be used on sized canvas, prepared plywood, or masonite. The 0e6co is achieved by pigment ground in water being applied to a surface of damp lime plaster, which on drying incorporates the color into the wall. Michelangelo's painting on the ceiling of the Sistine Chapel is called a etwo.

The Egyptians used one of the oldest methods of painting, called eneou4tie. The pigment was mixed with wax and kept plastic by means 22 of heat on a solvent. Karl Zerbe's Hantequin is an ART / ELEMENTS APPROACH

example of this type of painting. Cottage is a French term referring to something glued or pasted. Many variations of collage have become popular: di cottage, de coupage, and a44embtage. Brogue and Picasso were early innovators of collage.

Aetytte is a new development in painting that is gaining wide-spread use.A polymer emulsion can be mixed with water and/or polymer medium. It is fast drying and waterproof. Egg tem- peta is a mixture of pigment and yolk of egg.

Four basic processes in graphic arts are tettei, tntagtto, ptanogtaphte, and atenett Okaphic Anita p4OCt44. Types of relief (the printing of a raised surface) are evidenced in linoleum cuts, woodengra- ving, callographs. Durer's Fount Hok6emen of the 4poca- typaeis illustrative of the relief.

intagtio is the printing of the incised area of a plate in an intaglio print. Examples of this type of printing are etching, engraving dry point, and aquatint. Molta's Sumendek, Whistler's Stack Lion Waki, Piranesi's The Pti4ona, and Durer's Meteneatta are examples of intaglio.

The printing of a flat surface, usually from a stone, is called ptanogAaphy. The mono- type and lithograph are examples of the planographic process. The atinett process is a simple one with color directed to cut out areas of paper, thereby per- mitting color to be transferred to the picture in that area only. The Aexignaph or 4ith acteen process is achieved when areas not to be printed are blocked out on the surface of the silk. Ink is forced through open areas of the silk by a squeegee. Sister Mary Corita's The Bev:ming o Mikactet is illustrative of the screening process.

Scutptuke involves the use of ScutptuAe materials such as wood, stone, clay, and metals. Un- conventional and new materials have opened up new vis- tas to the sculptor. Some of these materials are epoxy, plexiglas, vinyl, plastic, neon, polyurethane, and polystyrene.

Carving is a type of sculpture in which the artist cuts away areas to form a three- dimensional design. He employs hammer and chisel-type tools in his work. Examples of carving were done by Michelangelo, John Flannegan, and Henry Moore. 23 ART / ELEMENTS APPROACH

Modaing, another type of sculpture, makes use of plastic-type materials such as clay, wax, or plastercine. ConAtkucting is a third type of sculpture and is achieved by putting together objects or materials, sometimes called constructions or assemblages.

Types of construction in architecture include the post and tintet, ateh (corbelled, round, arcade, vault, cross vault, and dome), ated aketeton, cantitevet, and attea4ed tone/tete.

New materials used by architects which enable them to form new types of structures are ferroconcrete, glass used as walls and plastics. Some newer constructions are stressed concrete, concrete shells, pneumatic construction, and the geodesic dome.

ARTISTIC Every work of art should have ORDER enough variety to create inter- ARTISTIC ORDER est and enough unity to avoid Chaos. *4 may be achieved through the factor of nearness, the'closer together the more unified; the Way a' c" similarity, similar visual elements of shape, color, or brightness tend to be unified; the factor of direction, the similarity of movement ; and the factor of closure, work lacking continuous direction.

Satanee is concerned with visu- Bobutee al weight. Similar visual weights (symmetrical) may be evidenced in Raphael's Siattne Madonna, the Par- thenon, and de Vinci's The Last Suppek. Tintoretto's Cht4at on .the Sea o6 Oat tee is illustrative of dis- similar visual weights (assymetrical).

St/met/Ate consists of boundary, SticuetuAe axis, lines, point, and size. David Smith's Hudson Rivek Landscape is illustrative of boundary (enclosing a given area).Axis, or giving a sense of direction within the given shape, is evidenced in Bingham's Fun Tudgia °wending the Mi4Aouiti. Albers's Homage to the Squae shows how similar shapes can be varied in size for interest, distance, and importance.

Okientation determines the direc- 04.4entatan tion of the structural axis while movement may be created and Movement by curving, straight, or Jagged lines; light and dark; and color. The centet oS &taut is a focal point to which attention is drawn, creating closed form of either mass or space.

The subject or theme determines 24 MUSIC / ELEMENTS APPROACH

the content. Expressive content is the emotional effect of the subject matter and/or visual form, such as in Giovanni's Agony in the OaAden or Gruenwald's CtueiVAion.

SUPPLEMENTARY References which might assist REFERENCES the teacher include Wolfflin's P4tinciple4 06 Att HUtolty; Utrecht Linens's The Stuctuu co6 a Wog 06 Ant, Ex- SupptementaAy *Aim the Name oa Wode oi Att, The Ptineigea Redeiceneos o6 Ahtutte OAdek; Rathbun and Hayes's Layman.4 Guide to Modem Att; and Gardner's Akt Through the Age4.

The National Gallery Slide Lectures present for viewing "Five Techniques of Painting," "Line, Plane and Form in Pictorial Com- position," and "Color and Light in Painting."

Also for viewing is the Famous Artist at Work Series, which includes filmstrips about artists working in the areas of sculpture, murals, ceramics, lithography, painting, stained glass, and collage.

MUSIC MUSIC The elements of music consist of tone, time etement4, metody, mment4 and countopoint.

All musical tone consists of four properties: pitch (high-low of tonal sound), Tone duration (tone sustained varying length of time), intemity (degree of loud and soft), and quatity. All musical tone possesses a characteristic quality which distinguishes the sound of instruments from the human voice. The quality of a tone is referred to as timbre, tone quality, or tone color.

Mutic is a time art. Its medium is physical sound, which is not stationary, bUt Time Etementl moves within a span of time. The time etement, fun- damental to music, is divided into three faCtOrs: tempo, metes:., and Ahythm.

Tempo, or speed, is determined by terms such as 'Meg° (very fast), attegAo (fast), Tempo vivace (lively), mode40t0 (moderate speed) andante (moderately slow), adagio (slower thanandrInte)8tem44 (slow), and tomo (very slow). Tempo is -indicated on the musical score by metronome markings. 25 MUSIC / ELEMENTS APPROACH

The most common Welt is indicated by duple (2 beats to a measure), triple (3 beats to a measure), quadruple or common (4 beats toa measure), and compound (two ormore groups of three to a measure: 6/8, 9/8, 12/8). Irregular metric schemes are shown in Tschaikovsky's Sixth Symphony (5 beats to a measure), Stravinsky's i1at4hied du So da (changed every few measures), the plainsong (nonme- tric), and music written by some twentiethcomposers (no signature assigned).

Rhythm is the living source of all the arts. It is easy to feel, but hard to define, Stress or emphasis on a note to make it sound louder is called accent. Atcent on 'any note in a series of regularly recurring beats produces rhythm.

Musical tones vary in the length of time they are sustained. Any combination of notes of different duration produces rhythm. Bach's Paaaa- czytia tn C Mtnot is based on a theme consisting of alternating long and short notes in triple meter,

A special kind of rhythm called ayncopation occurs when a note on a weak beat ofa measure is accented and held over into a strong beat. Syncopation also occurs when a tone beginning after a beat is carried over into the next beat.

Melody Melody is a succession of tones arranged in varying pitch, duration, and order topro- duce a musical idea by instruments and voices, for example, "14, Country 'Tis of Thee."

Countekpoint is illustrated in Countwant the round "Frere Jacque" (imitatinga single melody), "Long, Long Trail" and "Keep the Home Fires Burning" (combining two or more melodies), and "Triumphal March" from Aida (the simultaneous combination of tones into harmony).

The great forms of music may Gtea Forma be divided into the inAtAumentat, voca, and dance xitiarr forms.

The auite, one of the instrumen- InAlAulientat tal forms, may be noted in such old-time dancesas the FOOW minuet, the gavotte, the jig, and the horn-pipe. Cou- perin, Purcell, and Bach adopted it. Illustrative of the modern suite, a group of pieces in contrasting mood, 2i MUSIC / ELEMENTSAPPROACH

Tchaikovsky's Nuteueken. Suite and Grieg's Peet Gynt Suite.

The tondo, originally a folk Rondo dance in which people danced round and round in a cir- cle, evolved into a short piece of dance music used in the suite. Eventually it developed into a larger form used by Haydn, Beethoven, and Mozart.

The sonata, as form, is the pat- Sonata tern of one or more of the movements of a sonata (the work as a whole). The first movement of the sonata includes the melody, or theme; the development of the theme; and recapitulation, the return to themes heard at the beginning. Jsually slow, songlike, and expressive, the second movement may be in three-part form or rondo form. The third movement is customarily a lively, rhythmic minuet or scherzo. The last movement, almost always fast and spirited, may oe in rondo or sonato form, such as in Beethoven's "Pathetique."

Music played in the nobleman's Chamber Music room took on the name chamber music. Inclusive in this group are the solo sonatas; string quartets; duos, trios, and quintets; and chamber orchestras.

Among the greatest sonatas for Symphony full orchestra, the symphony, is Beethoven's Symphony No. 5, depicting man's struggle against fate. Other great symphonic works are Beethoven's TIvLn.d Symphony (ElLocia) (the glory and tragedy of a great man); Schil- ler's "Ode to Joy" from the Ninth Symphony; four symphonies of Brahms; the symphonies of Berliog, Schubert, Mendelssohn, Tchaikovsky, and Dvorak; and works of modern composers such as Prokofiev, Shostakovich, and Vaughn Williams.

The concerto is a sonata for one ConceAto or more solo instruments along with the full orchestra. Among those who have mastered the concerto form are Bach (ConceAto No. 2 in E Major for violin and orchestra), Mozart (Concetto in Bb Major for bassoon and orchestra), and Brahms (Conceit No. 2 in C Majors.).

Vocat FOAM: The mass, cholla, madtigae, tie- det and song eye-ft, and opera comprise the vocal forms of great music.

The mass, a product of early Mau, Christianity, was chanted by priest and congregation 27 MUSIC / ELEMENTS APPROACH

during the Roman Catholic services. By 1550, the writings of Palestina and Orlando di Lasso reflected a significant development. Monumental religious works were produced by Bach in his B Minx Mace and by Beethoven in his Mi44a Sotemni.4 for voice and orchestra.

Additional development appeared in the forms of the cantata, chonate, and cotatoAio. Chorale The chorale, a simple, folk-like hymn tune, became a part of the Protestant service during the Reforma- tion, for example, Martin Luther's "A Mighty Fortress Is Our God." Also prominent were chorales of Johann Sebastian Bach.

Bach's "Christ Lay in Bonds of Death," "Cantata #4," and Steiner's "The Crucifixion" Cantata are examples of the cantata, a composition in several sections for vocal soloist, chorus, and instruments based upon a secular or sacred text.

The outortio provides a musical Natoitio setting of a religious or epic theme for performance by soloists, chorus and orchestra. Illustrative works include Handel's The Musiah, Haydn's The &maim, and Mendelssohn's EUjah.

In the days of Queen Elizabeth, Maditigat four or five singers would gather round and sing mad- 4igat4 for pleasure. The madrigal, a song for small choruses, were often written in complex counterpoint with playful, tricky rhythms. England made fine contributions through Thomas Morley, William Byrd, and Thomas Wilkes. Excellent French composers were Claude Le Jeune and Orlando de Lasso while Italy produced Claudio Montevecdi.

For solo voice with piano ac- Li..edeit and companiment, the tieden and song cycle may be noted Song Cote in the works of the German composers Schubert ("The Miller's Daughter"), Schumann ("I'll Not Complain"), and Brahms ("Lullaby"). Debussy wrote a cycle entitled "Chansons de Bilitis" while another French composer, Poulenc wrote "Songs for Children."

The °perm and muaicat theater Opeiza and emerged, introducing a play in which the words are Muaicat Theatre sung instead of being spoken. It is a combination of music, drama, poetry, painting, and the dance. Representative works include Mozart's The Ma/midge o Figailo, Wagner's LohengAin, Verdi's Aida, and Menotti's Amahe and the Night ViaitoAa. Kurt Weill's 28 MUSIC / ELEMENTS APPROACH

"Down in the Valley" is an example of a folk musical. Other works composed for the musical theatre and film musicals are Anderson's "Lost in the Stars," Strauss's "Die Fledermaus," and Walton's film music for "Hamlet.' A vast number of additional excellent musicals can be cited as illustrative of this musical form.

Dance forms comprise another Dance Forum: important segment of great musical forms.

Medieval' dances of note were Medieval the French estampie and court dance dame toyate. During the Renaiosance, the slow-moving Spanish Renaiaaance pavane and the fast-paced French gattiaAd were well- known dances. Dances characteristic of the Baroque Baroque period were varied: allemande (German, moderate tempo), sarabande (Spanish, slow), gavotte and Loupe (French, moderate), and the hoAnpipe (English sailor dance).

The 18th C. was introduced to Eighteenth the Polish dances, ffazuAha and potonaiae. Other CentuAy familiar dances were the quadAette (French), taAan- teita (Italian), polka (Bohemian), and the English Twentieth country dance. Contemporary dances of the 20th C. Century include tine boteAD (Cuban); habanew, Sandango, and jo.ta (Spanish); and the tango (Argentinian).

Dramatic action interpreted Bateet through the pantomime of the dancers is evidenced in the battet. Tchaikovsky's NatcAacket Suite and Stra- vinsky's Bata OA an Elephant are examples.

Medium, oi the Time -Arta (The Mediunm Source ol5 Sound) are the voice and in4tAumenta. the Time- Soprano, one of the qualities Voice: of the voice, has ranges designated as cotoAaturra, tyAic, and dAmnatic. Another voice quality is the Soprano, ContAatto contAatto, which is comprised of the mezzo- soprano or .eyrie contAatto and the dramatic contAatto.

Tenon may be either the Zoic Tenon, BaAitone, tenon, titico-apinto, or dAmmatic .tenor. In the same Baas manner, the baritone quality has both the .Cynic and dAamatic baritone. Lyric and bawl pAD6oundo refer to the divisions of the boa quality.

Four stringed instruments are played with bows in the inatAumentat medium : the 29 LITERATURE / ELEMENTS APPROACH

Singed viattn, viota, eetto, and the double bald.

WoodWind instruments include Woodoinds, the Otte, pieeoto, oboe, Engti4h ham, and ba4400n. 84444 PeACI444401 8A4A4 instruments are the French holm, thumpet, thorn. bone, and tuba. Making up the Ix/Lawton group are the Umpant, 6444 drum, anaxe dium, and other percus- sion instruments, such as eaatageta, bet14, and wood Stock.

Completing the instrumental medium are instruments similar to the pan°, hop, own, guitat, banjo, and mandolin.

LITERATURE Sound, one of the elements in literature, may involve repetition of either a single Etement4 sound, words, or phrases and sentences. The single sound may be noted in attitetation (Coleridge's "Ku- Sound bla Khan"), a44onance (Tennyson's "Break, Break, Break"), con4onanee (Dickinson's "I Like to See It Lap the Miles"), and thyme. In Blake's "Introduction to Sono oInnocence,"he repeats the word pipe, just as Paul uses theworcechahity in hisletter to the Corinthials. Churchill's address "Dunkirk 1940" is an example of phrases and sentences being repeated, in this case, the words "We shall fight.

Another element, WI0A4b, concerns Wokda denotations (lexical interpretation), connotations (associations), and semantics (awareness of ambiguity Syntax in language). Through the element of ayntax, Milton creates the tone or mood in the opening lines of "Paradise Lost." Departure from usual syntactical order was taken by e e cummings in "here's a little mouse."

Rhythm, an element of both prose Rhythm and poetry, is a sequence of sounds in a free pattern of accents. In rhythm, phrasing, as well as accent, is important.

Meta is determined by a sequence Muter of sounds in a fixed pattern of accents which regularly recur. Meter is measured by the ioot, that is, a unit of accented and unaccented syllables. For example, an iambic foot may be noted by the pattern of unaccented/accented syllables in "ft, heart leaps up when I behold." LIne tength is determined by the number of feet in a line: tetrameter (four feet) as in Blake's 30 LITERATURE / ELEMENTS APPROACH

"Introduction to Son (id innocence" and pentameter (five feet) as in Gray's "Elegy."

Meter, line length, and rhyme Vehae Foam scheme determine veue donna. The hehate cototet may be either open (Keats's.Endymion ) or closed (Pope's Ewy on Man). The batta4 or common meter, is used in Wordsworth's "She DweltAmong the Untrodden Ways."

Two types of aonneta are the Italian, or Petrarchan (Wordsworth's "TheWorld Is Too Much with Us"); and English,or Shakespearean (Shakespeare's "Let Me Not to the Marriageof True Minds"), Other verse forms includethe SpenaeAtan Atanza (The Faetie Queene), blankveue (Frost's "Birches"), aetentuat vehae (OldEnglish poetry), ghee ve/ae and Nebhew meters (Oepenheim's "TheSlave" and Psalm 51:7-11), and the haiku and Lanka,based on syllable count (haiku-3 lines, arranged 5, 7, 5 syllables; tanka-5 lines, arranged 5, 7,5, 7, 7 syllables).

In "in Just-spring," e e cummdngs Attuaion makes use of attiaion by his referenceto goatlooted, taken from mythology. Milton alludes to the Biblical "Parable of the Talents" in hispoem "On His Blindness."

Notable examples of imagemmay be found in Hopkins's "Pied Beauty" (visual),Whitman's "To a Locomotive in Winter" (auditory),Tennyson's "The Eagle" (motor), and Keats's "TheEve of St. Agnes (tactile, thermal, gustatory, olfactory).

Figmea 06 4peech are indirect F4.guite4 o6 methods of expression which insome way involve com- Speech parisons. The 4imidle, a comparison using tikeor a, is quite commonly used: "like a patientetherized" from Eliot's "Love Song of J. Alfred Prufrock";"like some watcher of the skies" from Keats's "On First Look- ing into Chapman's Homer." In Psalm 23 and Keats's first eight lines of "-Homer," the metapkokis used.

Use of part for a whole, or a whole for a part is calleda Ayneedoehe, for example, "fleet of ten sail" for "fleet often ships" or "Missouri won" for "University of Missouriwon." An- other figure of speech, metonymy,uses one word which suggests another, as in "the crown" for thename of a ruler or "the bar" for the legal profession.

Now sleeps the crimson petal, 31 LITERATURE / =NUTS APPROACH

now the white," used by Tennyson in his "Songg from The PAtnee44," is an example of pehaont Zcatton. Litatea is a type of understatement which affirms one thing by negating its opposite: "He's no fool" for "He is shrewd."

Other elements include the APpatAophe, or address (Shelley's "Ode to the West Wind"), hypehbott, or exaggeration (LoVeleCe'S "When I lie tangled in her hair, and fettered to her eye), anUataia, parallel in syntax, but making an opposite statement (Shakespeare's "With mirth in funeral, and with dirge in marriage"), and ihony.

Thong o4 Atatement, saying the opposite of what is meantsis evidenced in Swift's "A Modest Proposal" and in Antony's speech "Brutus is an honorable man." Ro4inson's "Richard Cory" is an example of ihony o4 atuatton (contrary to what is expected). Vhamatie 4hony occurs when the audience has knowledge not held by a character, as in Romeo and Juliet when Romeo tells of his happy dream and his assurance that all will be well.

While the element of aatect Matta, was employed by Burns in his "To a Louse" and by Appeahanct on Pounds in "The Ballad of the Goodley Fere,"e e cum tke P/anted Page mings used the appeahance on the panted page for effect. His arrangement of the text, his punctuation, capitalization, and type used depart from conventional practice.

Components of the ohenizationat 0Aganizatton element are ahgumentation, expohition, tyuc, and nah- hative.

Ahgumentatton may be a sermon, oration, debate, newspaper, radio, or television script. Expoaition includes the treatise, essay (familiar, historical, philosophical), and other writings, such as Plato's Republic (political ideas) and Dia- toggp (philosophy), Meditation4 of Marcus Aurelius (practical wisdom), and Congeaaiona of St. Augustinr (books of devotion).

The toic, which expresses a single emotion, makes use of many literary devices: Landor's "On Death," Wordsworth's "Intimations on Immortality," Sappho's "Odes," Thomas's "In My Craft of Sullen Art," and Frost's "The Pasture."

Nat/ matte is a fourth type of 32 LITERATURE/ ELEMENTS APPROACH

organization. The elements of the narrative include plot (or two plots as in King Leak and Anna Kmenina), ehauete44,

Methods of presenting a narrative vary. Chunotogicatty is one method that may be used. Henry James in his Potaltait of a Lady pkeaentedone ehakattek through the eyes og anothet. In The Ring and the Book, Robert Browning pkeaenteda 4toky 44 it was known to dibiekent people. Retable a atoky a&tek a tong paulage of time was the method employed by Conrad in Youth and by Eliot in Journey osi the Magi. James Joyce's atkeam o6 con4ciou4ne44 and the kateidoaeopie presentation of manysequences of events as in Benet's "John Brown's Body"are two other methods of narrative development.

Poetry also is used to present a narrative: ep/c (Mad, Ody44ey, Beavutb Song Rotand), tite444y epic (Pan4424e. Loat, Aeneid), medievat romance, and the ballad ("Lord Randal,' The Rime otS the Ancient MaltineA).

In prose fiction, writers uti- lize the ahokt 4torLy, nova., anecdote (Plutarch's Lino), and the novena.

In drama, the playwright pre- sents his narrative through diviaion by aet4 and 4eene4, u4e os dialog, designing the appealLanee oi; ehakaetekh to give inioluration about themselves, emphaaizing what Ls Aar' by the setting, and giving impotaance to 4t4ge dikection4.

Medium The medium of literature is language. Theories are differing concerning the 0 ohigin o Language. For example, some claim it is of Language divine origin (gift from the gods); others,imita- tions of sounds in nature ("bow-wow" theorY).

Language is ehakaetektaticatty: Cluvaetvii4tices symbolic, systematic, arbitrary, acquired, changing, based on custom, regional, stylistic, and functional. The functions of language are both interpersonaland intrapersonal, for example, in transmission of culture and history, in the communication of ideas,in

33 LITERATURE / ELEMENTS APPROACH

accumulation of knowledge, and in discovering a source of pleasure, humor, and enjoyment.

The spoken Language is concerned with production of sound, transmission and reception of sound, and phonblogy. Mitten ,language involves the origin and history of writing, characteristics of written language, and a comparison of different systems of writing.

Morphology, syntax, comparison Language of different language structures, and the grammar of Stituctuke a language are inyOlvedin the anuctute 64 .language.

Semantte4, as a medium of literature, seeks importance in areas Of context, conno.? tation, denotation, and ambiguity in language. It Semanac4 pursues use of the metaphor as a way of thinking and expresses 0 need for a rich vocabulary of the senses. The means of the semantic growth of words is through similitude, abstract-concrete, genus-species, structure, operation, irony, and metaphor.

What is a literary work?Wel- Aeathotica lek and Warren in Theory 06 Lite/tato/a state: "...a highly complex organization of stratified character with multiple meanings and relationships."

One can approach literature intAinaicatty through a study of the work itself by exploring the mode o extatence of the work (sound, meaning, objects represented), and by noting formalist' criticism (Ransom, Ong, Empson).

The extAinaie Motoach to literature considers literature viewed through biography (Saint-Beuve), psychology (Neitzche's The eath o Ttagedy), society, ideas (Babbitt), and other arts (Lessing).

A representative sampling of Laekam literary criticism includes the classical (Aristotle's C4Laciam Poetic4 and Longinus's On the SubVw4), Renaissance (Milton's Pahadi4e Lo4t), neoclassical (Pope Way on Cratiei4m), romanticism (Goethe's CommuotionA 06 Goethe and Schiller's Ae4thetitat Lettem), 19th C. (Sainte-Beuve's Saint-Beuve on Hi4 Own Method), and 20th C. (Frye's Anatomy o attai4m).

34 LITERATURE / ELZHIHTS APPROACH

Freud deals with the crteat4ve Cuative P4OCA44 puce44 in On Cuativity and the Uneonaciou4. Other similar works are Richards's "The Poetic Processand Literary Analysis" and Schneider's The Asgehoanatot and the Aittlot.

35 THIS PAGE WAS MISSING FROM THE DOCUMENT THAT WAS SUBMITTED TO ERIC DOCUMENT REPRODUCTION SERVICE, SOCIAL STUDIES / CHRONOLOGICAL APPROACH

I. PERIOD TO 500 B.C.

SOCIAL STUDIES During the Paleolithic period man was essentially a migra- FlUmitive tory hunter, primarily concerned with his own Man: survival. Indicators show he was more identifi- Otd Stone Age able with animal than human behavior and could not comprehend natural cause.

During the Neolithic period man began to acquire both material belongings and New Stone Age the leisure time with which to exploit his inven- tive capacity. His primary concerns were fertil- ity and the weather. His leader was the priest, who functioned as intermediary between man and the weather.

The power and position of the "intermediary" began to grow and change in accordance with man's desire that he might placate the forces of nature on which he was still largely Eartty dependent. In his enforced realization that in Ci.vit4zed centralized strength lay some measure of security, Man we notice powerful leaders emerging: Hammurabi in Mesopotamia, the pharaoh in Egypt, the patriarch in Hebrew society, and the emperor in the East.

Particularly noteworthy of this period is the accomplishment of the Israelites, who while fighting repeated wars, managed to develop a monotheistic religion.

MUSIC During the Paleolithic period PAtmitive man experienced music by living Man with sounds of nature, by enjoying rhythmic move-

37 MUSIC / CI:MONOLOG/CAL APPROACH

ments such as animal-like dancing, by stomping Narrative the ground, by clapping hands, or by slapping Man, on the body. His instruments were rattles, Otd Stone Age scraper (stick, shell, bone, gourd), stamped pit, ribbon reed, and holeless flute.

During the Neolithic period man had more time to devote to song and dance. His instruments included slit-drum, stamping tube, flute with holes, trumpet, ground-harp, ground zither, and musical bow. Other instruments dis.. New Stone Age covered in late Neolithic excavations were rubbed wood, basketry rattle, xylophone, Jews' harp, nose flute, transverse trumpet, friction drum, and drum stick. Their principal techniques embraced plucking and rubbing; they did not know the use of the bow on the string.

The ancient Sumerian civili- EaAty zation provided the oldest record of a musical Civitized system. Music schools for the training of the Man: temple singers were established in various centers of the land. Their instruments were clappers, Me4opotamia cymbals, bells, rattles, drums, pipes, and some types of trumpets. They preferred instruments such as the lyre, harp, and lute and combined them to produce King Nebuchadnezzar's orchestra.

Music played an important part in the lives of the Egyptians. The rich had their own company of musicians and dancers for entertain- Ancient ment. The less wealthy could hire troupes for Egyptiana special occasions. When Syria came under the influence of Egypt, the Egyptians were brought into contact with an exciting sort of music produced by orchestras of girls. While there was no system of notation established, the Egyptians considered music a sacred expression and felt that melodies had divine power or "ethos."

"The Song of the Harper" expressed a pleasing philosophy: Set 4inging and mu4ie beioke thy bate. Ca4t att evict behind thee and bethink thee o6 joy.

Judging from many Biblical Eaxty references, music was important among the Hebrews. Hebkew Their music, of a ritualistic nature, included unison singing, chanting, and antiphonal singing. Their instruments were mostly Egyptian with the

Period to 500 B.C. 38 ART / CHRONOLOGICAL APPROACH

ram's horn and shophar their own innovation.

The Chinese and other Mongo- Chine.se lian peoples used music extensively. The Chinese and invented the major scale almost the same as it is Mongolian used today and made particular use of a five-tone scale (pentatonic).

The Aryans, or ancient Hindoos, were the opposites to the Chinese. They had vivid Ancient imaginations and were omantically inclined. Their Hindu music was confined to unison singing and playing. It was in India that bow instruments had their ori- India gin in a simple, primitive, one-stringed instrument. However, instead of plucking, man used a bow to produce vibrations.

ART Extant examples of the work of Paleolithic man have been Otd Stone Age. found engraved and painted on the cave walls in Lascaux, France, and Altamira, Spain.

Man's creative genius is re- Me-sot-Laic, flected in the monumental work of Stonehenge in Neotithie, Salisbury, England. Dolmens, tombs or monuments, 8'tonze and ,are composed of great single stones set on ends Ion Age and topped with large slabs. The single megaliths in Brittany, along with handmade Neolithic pottery, make us aware of prehistoric man's efforts to express himself aesthetically.

Primitive man has created Primitive beautiful and useful works of art in all areas Man of the world. The African ceremonial mask illus- trates their imagination, and food containers, Alt Age's their practicality. The Easter Islanders are a mystery with their huge "tiki" heads. Central American pyramids and statues arouse curiosity, as do the totems and masks of the Indians of Cana- da. American Indians were quite versatile in their crafts of weaving, making of jewelry and tools, and devising portable homes.

In Egypt in the Old Kingdom, Egyptian: the Ka, or soul, was dependent on the body for

014 Kingdom . its existence; hence, the pyramids are tombs, built for the preservation of the body,

AtchiteetuAt. The Poolick

Period to SOO B.C. 39 ART / CHRONOLOGICAL APPROACH

KhaeLe and Khutfu at Gisa are examples of man's amazingly accurate engineering. S ate. Life- size statures of the kings were ma e of wood, Dior- ite, and limestone: Matte, Ranotielt, Neairte.

Paintin . In the Old Kingdom, man used painting pr nc pa ly as an accessory to relief design. An exception is the famous tomb painting, o4 Maxim (IV Dynasty).

Akehitectake. The buildings Middte Kingdom of the Middle Kingdom were mostly brick and have crumbled. Remains indicate that they were of the pyramid-complex type. Seutpre. Man reduced the size of his sculpture as evI enEed by the obsidian head Amenemhet III, which is five inches tall. Painting. During the middle period painters were called on to decorate walls of palaces and tombs because of the ease of painting with a brush as compared to carving with a chisel. Wept objeet4. Man began to create inlaid jewelry, scarab brace- lets, jeweled collars, and perfume bottles, in addition to beautifully carved spears.

Anchttectute. Nobles and kings The Eme hollowed burial chambers deep in cliffs. Rock-cut tombs were approached by long corridors through concealed entrances. Temples not only provided a king a place to worship his patron god but also served him as a chapel after his death. Tombs contained pylon gateways (facade); halls composed of rows of columns, called hypostyle; and columns fea- turing a flower and bud motif. High columns in the center provided a clerestory for light to enter. Examples of man's burial chambers are the Temple 06 HOAUA end the Temple o6 Amun.

Seutptake. Sculpture at this time was an integral part or the temple. Both sculpture in-the-round and relief were popular. Many sculptures remain, such as the famous NoPtetete from Amarna. painting. Gay, colorful paintings reflecting man s everyday life remain. Paintings on sculpture such as Nopttete and on the columns of the Temple oti Amin were impressive embellishments to architecture and sculpture. Paintings were also done on papyrus.

Auhitectake. Sumerian architec- MeAsopatontia ture was exclusively of brick, as no stone or timber was available. A ziggurat, characteristic structure

Period to 500 B.C. 40 ART / CHRONOLOGICAL APPROACH

in Sumerian cities, was a tower with ramos for as- cents. The Ziggmat at Ur is an example of this type of structure. S e. Relief panels, alabaster vases coverew panels of figures, and figures carved from shells and limestone tell of man's spiritual past. His courage is depicted by a stele, showing a phalanx of spearsmen, and by an inlaid panel from Ur, showing a chariot being pulled by four onagers. Some of these Inlaid designs are almost predictions of the mosaic art. U6eut obiee16. Although no painting as such ex- iited, beautifully tooled work was applied to ob jects, adding color, such as the Bull's head of gold foil and lapis lazuli (a stone of beautiful blue). Man expertly fashioned helmets and cups of gold.

The Assyrian adapted Sumerian Aazoian art forms to meet the demands of an imperial state. Akehtteetme. Palaces were large complexes of ram- bling structures, covering many acres. The SaAgont4 &tate and Tempte at Our-Sharrukin has two entrances, one a ramp for vehicles; the other, a stairway leading to the main entrance. There are small rooms grouped about courts. The facade is composed of an arched doorway flanked by towers decorated with brilliantly colored glazed tiles.

S e. An impressive Assyr- ean work, the Guakdian from the Palace of Ashur- nasirpal II at Nimrud, is a sculpture of a winged bull with a human head and five legs. Other notable works are the Vying Lione66, a relief sculpture from Nineveh, and the black'obilisk of Shalmaneser III

Auhtteetuke. The laht4A Oates Chaldean excavated in Chaldean Babylon, is the best example of their contribution to the arts. S e. Lion When Nineveh iett o6 P4oce4Sion Stuet features glaze e, raised in 612 B.C., the slightly in a relief design. Other relief decora- Chatdean kingdom tions are the Marduk temple tile reliefs of sixty e6tabti4hed life-size lions. in the south area Atchiteetake. The Patace of Peraepoti4 is the most important source of know- At the 'same ledge of Achaemenian architecture. S . Low time, the Med6- relief panels along the stairway to e oyaAudi- PeAsians come ence Hall in Persepolis show a serene way of life atabLizhed hi through man's superb workmanship. etateitn ptateatth Auhiteetme. Aegean buildings

Period to 500 B.C. 41 LITERATURE / CHRONOLOGICAL APPROACH

Glteeks were neither tombs, temples, nor fortresses, but rather palaces for kings and retainers. Lintel sy- Aegean stems of architecture with bulbous columns that had cushionlike capitals, tapering from top to bottom, (Cute, the were constructed. The Patace Mino4 at Knossos Wand of Mino4) was so constructed.

paptuke. The bull was a favorite subject of the Minoan sculptor. The mother goddess and other figures in terra-cotta were also popular, such as the ivory figure of Gikt Tokeadot and Gat n a Swing in painted clay. Fres- coes as Tolteadox Scene from Knossus andPdacIl.ng Fialt Fusco from the Island ofMelonare typical of painted. subjects. Uae&t objects. Gold utensils, pottery, vases, metal jewelry, and terra-cotta provision jars are a few of the objects fashioned by the early Aegean man.

AtchitectuAe. The Mycenaean Myeenae palace was less decorative and more fortress-like than the Minoan palace. Illustrative of Mycenaean building are Utadet at Tiryns, Citadet at Mycenae, and the beehive tomb, called the Tkeetaum o6 Atteua. Slutp- sma. In the sculpture of the age, man capture( in gold and stone hunters attacking lions. Ivory carvings and plaques are also examples of Mycenaean sculpture. Painting. Frescoes at Tiryns are typical of the painting. U-setfut Oject4. Funeral masks of gold, along with cups and vases, are extant.

Akckitectum. The first temples Achaic were of wood; later they were duplicated in more per- Pekkod manent and sculptural materials. Limestone and marble were used as in the early Doric stone temples at Olynr 1100-500 B.C. pia, Corfu, Delphi, Aegina, and Cyrene. S tat. The first life-size statues were frontal,ma jest c, and stylized, as in the figures on the Archaic Acropo- lis. Pottem. The first truly Greek pottery style was geometric in decoration and block-figured.

LITERATURE During the period before 500 B.C. 4500-2100 S.C. early civilized man was primarily concerned with his supranatural relationships. This is reflected in the early religious writings, in myths, and in epics which deal with man's origins and way of life.

By the time the Christian religion emerged, the eastern civilizations of Sumeria, Assyria,

42 Period to 500 B.C. LITERATURE / CHRONOLOGICAL APPPOACH

and Babylonia--with the exception of Egypt--had reached their cultural maturity and had lost their power. However, the ancient Chinese, Hindus, and Hebrews were able to transmit their cultures through their writings.

The Chinese culture reached its Chtineae peak in the fifth and sixth centuries when Lao-rzu and Confucius established China's rival religions, Taoism and Confucianism. Although Confucius wrote little himself, he did contribute through ardent scholars much knowledge of Chinese history, along with The Book oS SongA, which were sayings and lyrics, and the Anatect4, collections of his sage sayings.

The oldest writings in any Indo- India European tongue were the Vedaa, ancient hymns and prayers composed by holy men. The Rig-Veda is one Hindu of the four great collections and the source of the 2000-800 8.C. other three.

Following the Vedic hymns, there arose numerous mystical commentaries on the universe, called the Upani4hada, which embodied the Hindu religious beliefs. India's folk epic, Mahabhaitata, consists of 100,000 couplets of. stories and essays. The "Gita," a poetic essay, is a famous section of the MahabhAkata. A second epic, the Ramayana, reflects much fine narrative poetry.

Buddha left no writings of his Buddhist own, only his beliefs, which have been the subject of volumes of Buddhist scripture. From The Tectehi4ga oS the Compautionate Buddha, we have the "Sermon at Benares," the "Parable of the Mustard Seed," "Uni- versal Love and Good Will," and "Buddha's Farewell Address."

The Sacked Wkitago were written Hebrew by various Jews between 900 and 400 B.C. Later other books were added, presenting a collection of folklore, national history, and religiols code. Their writings were direct and contained much imagery.

Select reading may be found in the Phatm4, songs of praise which proclaim God's majesty in 97 and his creations, in 8 and 19. I:Wove/04 are books of wisdom; I4aiah, prophecy; Veutekonomy, law; and Job and Ruth, tales of God's mercy and love.

Period to 500 B.C. 43 SUPPLEMENTARY REFERENCES / CHRONOLOGICALAPPROACH

Peatod to SOO 8.C. SupptementaAy To assist the teacher, the Re6menee4 following referencesare suggested for further inves- tigation.

Bernhard W. Anderson, Undek- Soeiat Stadia 4tanding the Otd Teatament (Prentice-Hall,1966); Lionel Casson, Anetent Egypt (Time-Life, 1965);Samuel Noah Kramer, Caadte o6 Civitization (Time-Life,1965); Maimonides (Rabbi Moses ben Maimon), TheGuide ion the Poptexed, t44114. by ShtomoPine4 (University of Chicago Press, 1963); Lewis Mumford,The City Hi4- toky (Harcourt, 1961$; A. Leo Oppenheim,Anetent Me4potamial Poxtutt odaDead Ctvittzatton (Univer- sity of Chicago Press, 1964); EdwardH. Schafer, Ancient China (Time-Life, 1967);LucilleSchulberg, Ht4tokie Indta (Time -Life, 1968);The Apowtypita: An Arne/awn Thamtation, 1.44114.by E. J. Good4peed (University of Chicago Press, 1966);and The Book o6 the Dead, tA4AA. by E. A. W. Budge(Barnes and Noble, 1949).

Available films include Cave Dwellers of the Old Stone Age" (EBF,18 min.), "Egypt: Cradle of Civilization" (EBF, 12 min.),"Mystery of Stonehenge" (two parts-McGraw-Hill, 57 min.),"Pre- Historic Man in Northern Europe" (EBF,14 min.), "The Ancient New World" (Churchill, 15 min.),and "Israel" (International Film Foundation, 30 min.).

Filmstrips to consider are "The Epic of Man," "Life Before Birth,""Man Inherits the Earth," "Stone Age People of Today,""The Dawn of Religion," and "Neolithic FolkToday."

References related to muote Rosie include William F. Albright's Rom theStone Age to Chktatiantty (Doubleday and Company, 1967); Willi Apel, Hakvaad Vietionalty o6 Mmoie (HarvardUniversity Press, 1944); H. E. Barnes, AnIntettectaat and Cuttakat Histolty o6 the Weat;An Woad (Barnesand Noble, Inc.); Marion Bauer and Ethel Peyser, Maeis Through the Age4 (Putnam, 1946); Curt Sachs,The Hi4totLy o6 timicat In4tAboreAl4 (W. W. Norton, 1940);and Percy Scholes, Ox6o/td Companion to MU4ie.

Available films include "His- tory of Music in Sound" (EAV), "Ancientand Oriental Mirsic"(Educational Record Sales, EAV),and "2000 Years of Music" (EAV).

4" Period to SOO B. C. SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROA0H

Suggested aAt references are Helen Gardner'sAntThough the Aga (Harcourt Brace, 1959); Notilon Book oi but WoAtda (American Heritage, Doubleday); Ladislas Segyil SculptuAt Speaha (Lawrence Hill and Company, 1955); Nokizon Soak of Anctent Wee* (American Heritage, Doubleday, 1965); and An Into- ductLon to Mu.ste and AU (William C. Brown, 1964).

Films of additional interest are "Mysteries of Stonehenge" (McGraw-Hill) and "Yu- catan: Land of Maya"(Haeffler).

Filmstrips include Warren Schloat's "African Art Series" and "Ancient Greece andRome"; "The Minn Age"(Life); and "Greek Art and Artist" (EyeGateoa).

In the area of titemoy works, references include Thomas Bulfinch's Mythology (The New American Library Inc. 1960); Norma L. Goodrich, Ancient Mytha (The New American Library Inc., 1960); Old Teatament, and The WoAld'a Guest Reagiona (Time- Life).

Available films are "Buddhism" (McGraw-Hill) and "Hindu World" (Coronet). Recordings of interest are "Ramkyana" (Folkway), "Book of Job" (Caedmon), and "Psalms" (Spoken Art).

II. PERIOD 500 B.C. - 300 A.D.

SOCIAL STUDIES During this period in man's civilization, powerful cultures and equally powerful concepts Greece developed. In Greece, there was progression from a subservient, fearful, and superstitious people to a powerful political nation. However, the rivalry between militaristic Sparta and imperialistic Athens, together with the inability of the people. of Greece to maintain the balance between freedom and responsibility, led to decline. The Hellenistic period, after Alexander's conquests, was one of continual internal and external strife, paving the way for Roman conquest.

Because of this peninsula's availability to outside attack, the people of Rome

Period 500 B.C. - 300 A.D. 45 MUSIC / CHRONOLOGICAL APPROACH

developed along practical and militaristic lines. The initial monarchistic government was overthrown in 509 B.C. in favor of a republican government, there- sults of which were imperialism and a rising middle class.

During the Empire period under Augustus, professionalism excluded both themasses and the intellectuals, who turned to the Eastern mystery cults and to religious theory to counteract their inward unrest. After Augustus, the Empire began to dec!ine and the Germanic barbarian invasions began around 100 A.D.

MUSIC Instruction in music and gymr nastics provided the educational foundation for the ancient Greeks. Information concerning these experiences came through the writing of philosophers and literary men. For the Greeks, music implied the art of performance (singing and playing), the Muses, the science of music, and music as a part of ethical training for the harmonious ad- justment of the soul.

The principal instruments- -the lyre, kithara, and aulos--had special functions, and the ideas they reflected dominated Greek thought. Music was used as an accompaniment to drama and poetry. Truly, the art of this era remains a symbol unsurpassed for its devotion to truth and beauty.

ART Akehiteetme. The Peri clean Gueee building program in Athens was Sth C. the great contribution of this period. The Parthenon, Exechtheum, and Pnopytaea at Athenswere among a few of the magnificent structures of the Golden Age. (See .iltuAtution on next page. )

Srtptur. The more relaxed and moving sculptures of this per od were occasionally rendered in bronze, as well as themore frequently used marble. Such figures as the Chakioteek o Ve4phi, Vaeoboto4 (Discus thrower), and the sculptures of the Parthenon by Phidias will always be recognized among the finest sculptures that man has created.

Painting. We know from literary evidence that schools a painting existed in archaic and Oassi cal Greece. Two painters of note are Polyg- notus (a sculptor as well as painter, who placed 46 Period 500 B.C. - 300 A.D. ART / CHRONOLOGICAL APPROACH

Raking cornice

Pediment

Cornice

Triglyph

Metope

Architrave

Abacus Echinus Necking

Shaft

Stylobate

DORIC ORDER figures one above another to suggest depth)and Apolladorus, the "shadow-maker,' whoexperimented with shadow and light to make figuresappear round.

Uaeiut objecta. Red-figured pottery on which paintings becamefreer and more graceful were made. Jewelry and coins areamong crafts of the period.

Period 500 B.C. - 300 A.D. 41 ART / cuRoNotooICAL APPROACH

Anchitectme. The temple of Nettelaata Apollo at Didyma (Miletos) and the theater at Eoi- 1400 8.C.-100 daurus are prime examples of the architecture of this

period. . Changing ideas of the time made themselves manest in sculpture. The sculptors were not as honest regarding their material, or the stone, as previously. The tendency was toward capturing the soft flow of a garment rather than the integrity of the marble: Ht0t4 Wth the lniant Dionoo4 by Proxiteles, Nike o6 Samothtace, and Otd Manizet Woman. Prior to this period, sculptors always presented the female figure clothed, but during the Hellinistic period several pieces (the Venu4 of Milo and AphAo- dUe of Coene) were portrayed nude.

Plinng.V No painting of this era is extant, but a co orul-battle scene between Alexander and Darius and a mosaic from the floor of the House of Faun was supposed to have been inspired by a 4th C. Greek painting.

Akelatectuke. One Etruscan innovation was the regular town plan later used by the Romans. The origin of their temples may have been from Greece", as they resemble the Greek pro- style plan. They constructed mostly of woodand, sundried !nick in the post and lintel system with heavy wooden superstructure above an entableture of brightly painted terra-cotta. The emphasis was on a highly' ornate facade.

S witiorbte. The sculpture of the Etruscans was influence by the Hittites and Aegean and archaic Greeks as depicted in the conical hats and upturned toes. They did both relief sculpture and sculpture in the round. They designed elaborate sarcophaguses and preferred to work in clay and bronze rather than stone.

P a, Tomb paintings were done usually in fresco a oug some were painted directly on stone ceiling and roof designs. They were chiefly conventional and contained geometric patterns. Wall scenes with funerals, banquets, dancing, athletic contests, and hunting as subjects were popular. The Etruscans accented individual man and pictures of his activities rather than mythological

Period 500 B.C. - 300 A.D.

48 ART / CHRONOLOGICAL APPROACH

subjects. Weiut object4. Bronze vessels, mirrors, urns, andjewelrywere among the objects created. The.Etruscans invented the safety pin.

Achiteeturte. The Roman dwellings were of three types: the romus, or private house; the villa, or country house; and the insulss or urban house with an apartment on each story. Win- dows and loggias faced the street as well as court. yards. As exhibited in the public buildings, Rome was heir to techniques and aesthetics of Etruscan and Hellenistic pasts. Romans solved for the first time in western history the problem of enclosing large volumes of space. They developed the arch, dome, and vault with the use of concrete, which they invented. Examples of their important works are the Auk oi Taw, Pantheon, AAA Conotanttne, Coto44eum Botha Utodetian, and U4424444 og ConAtantine.

Anw...... ;,,Ip...1;, .7.4"".# or * ,.....-...... w 0INIto41,,,4*,.. . , t . 4, u"'nfr. t to . * ,0 1 Ft 4i1 4, 4, I no 11 X II P i 1;1 Jr II1 ILs iii III mo M1MO I III "0 0 I, itits I Si ...0 III *.lit II I RI ...

BARREL VAULT CROSS VAULT

Seutiotulte. The first early Roman sculpture was of terra-cotta figures, bronze containers and busts. Later'shiploads of Greek marbles and bronzes were brought to Rome by generals and provincial governors to adorn their palaces. When these supplies were exhausted, copieswere made or Greek artists were employed to create new ones. To expedite the copying process, the Romans devised a method of casting in which a mold was made from

Period 500 B.C. - 300 A.D. 49 ART/ CHRONOLOGICAL APPROACH

the original, and plaster copies were made.Not all Roman sculpture was imitation; some Romans excelled In portrait sculpture. Some free-standing sculptures of merit are The Empetoh Augu.stu4 anda marble bust of Hadrian.

Nigti41. As there were few windows, considerable RITTWice was available for decoration. The interests of the Roman painter were far wider than his forerunners. He, too, paint- edmythical and historical subjects,but he was inclined to scenes of architecture andlandscapes. Genre and anecdotal paintings and still lifepaintings seem to be Roman innovations. Uae a Wet4. Other forms created by the Roman craftsmenwere cameos, coins, and vases.

LITERATURE During this period the poet Guth Homer, writing of the Trojan War, gave the best interpretation of thespirit of man. The playwright Aeschylus attempted inhis plays to define the relationship betweenpower and individual freedom.

The ideals of the Greekswere expressed ay Socrates and Aristotle ("Know thyself" and "Nothing in excess"), Sophocles (Oedipua Rex), Euripides (E`tectu), and Aristophanes (The 84kdo). All depict the tragic and comicsense in Greek ex- perfence.

The Roman political skills Roman made the oratory of Cicero and the historiesand chronicles of Caesar and Plutarchthe favorite forms of literature. Vergil's Aenad (particularly Book VI, "The Lower World") was later used by Dante as his guide through hell and purgatory in The Diane Comedy.

With the advent of Christian- ity was evidenced a combination of Greek idealism with that of Christianity, which hadan oriental flavor and was tinged with Judaism.

SUPPLEMENTARY Antony Andrews, The Gueka REFERENCES (Knopp, 1967); C. M. Bowra, Cta441.e4t Guece (Time -Life, 1965); F.R. Cowell, The Revotution4 o Ancient Rome

Period 500 B.C. - 300 A.D. co SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROACH

Social Stud les (Praeger, 1963); Edith Hamilton, The Gteek Way and The Roman Way (Norton, 1965); and Lie Stokita Men Who Shaped Wstolty ecom Ptutakeh'a Livea, ed. by Edward C. Lindeman (Mentor, 1964).

Suggested films include "Life in Ancient Greece," "Life in Ancient Rome," and "Greece: Cradle of Culture" from the Museum Exten- sion Service and, from EBF, "The Humanities," "The Age of Sophocles," "Athens: The Golden Age," "Pla- to's Apology: The Life andTeaching of Socrates," "Aristotle's Ethics: The Theory of Happiness," "Emperor and Slave: The Philosophy of Roman Stoi- cism," and "The Spirit of Rome."

Music references of interest include C. M. Bowra, The Greek Expekienee (Mentor); Edith Hamilton, The Gkeek Way to Westem etotttzation (Mentor) ; and Arnold Toynbee, Gkeek Civittzationa and Chakaeteka (Mentor).

Four filmed lessons in the jumanities, Ctassicat Gum, are available from EBF. EMI offers the recordings "2000 Years of Music" and "Ancient and Oriental Music."

Recommended for further at exploration are Vitruvius, The Ten Books oti Akehi- teetuke (Dover, 1960); M.F. Briguet, Etkuaean Ant (Tudor Publishing Company, 1961); and Frank Brown, Roman Akehiteetuke (Braziller, 1962).

For viewing are "Buried Cities" (International Films) and Warren Schloat's filmstrip "Ancient Greece and Rome."

Sugestedreference to the Li testa titekatute of the periodagreH. E.Barnes,An Intet- teetuat and Cuttukat Histotty o the Weatekn WoAtd (Reynal and Hitchcock, 1941); J. H. Brested, Conquest o6 CiatizatZon (Harper and Brothers); and Edith Hamilton, The Gude Way (Mentor).

For viewing, the Encyclopedia Britannica Humanities Program is recommended: "The Age of Sophocles," "Aristotle's Epics," "Athens: The Golden Age," "The Character of Oedipus," "The Odyssey: The Structure of the Epic," "The Odyssey: The Return of Odysseus," "The Odyssey: The Central Themes," "Oedipus Rex: Man and God," "Plato's

Period 500 B.C. - 300 A.D. 5? SOCIAL STUDIES /CHRONOLOGICAL APPROACH

Apology," "The' Recovery of Oedipus," "The Character of Oedipus," "Greek Lyric Poetry," and "Aeneid."

For listening are Caedmon's "Antigone" (Sophocles), "Modes" (Euripides), and "Oedipus Rex" (Sophocles); from Warner Brothers is the recording of Plato's "Dialogues."

III. PERIOD 300 A.D. - 1400 A.D. Widdte AgeO

SOCIAL STUDIES Beginning with the acceptance of Christianity by the Emperor Ecutem Eukopet Galerius in 311, Christianity rapidly rose to a position of dominance in Western public life. One cannot CWAtkanity exaggerate the influence of the Christian church on Medieval civillizatim It was the Church that provided educational and vocational training for the small minority of people who were to lay the founda- tions of a new era. Monks provided Renaissance man with the classical heritage necessary for the birth of humanism.

For the most part, the Ayzantine Empire enjoyed power and prosperity from its beginnings under Constantine until its fall. Byzantine Byzantium government was essentially one of theocracy, or "cae- saropapism," despotism, and paternalism. Byzantium served as a bastion for orthodox Christianity in the East. Its cultural influence on Eastern Europe and Russia was considerable.

In 622 A.D. the new religion of Islam (Muslim) began with the Hefiu of Mohammed, 14tmn the Prophet. Expansion reached its zenith under the Omniad dynasty by 750 A.D. The empire encompassed Spain, North Africa, the Near East, and reached far into Southeast Asia. The Islamic influence provided a basis for Medieval scholasticism, and left an indel- ible stamp on Spanish culture.

In Africa, the empires of Ghana (Kumbi), Mali, and Songhai produced powerful kings- AetiC4 arising from a progression of family grouping, clans and clan states, vage states, and kingdoms. The rulers were strongly influenced by Islam, particularly

Period 300 A.D. - 1400 A.D. 52 SOCIAL. STUDIES / CHRONOLOGICAL APPROACH

King Askia Mohammed, who drew upon Islam's culture to make vast improvements both in the government and in the educational system.

With the decline and eclipse Oluitem Euhopei of Roman authority came the breakup of the former Empire into petty states and the nuclei of future Patch Agee national states. This was largely an agricultural and a fighting (feudalistic) society, whOte only concern was preserving itself. For the average peasant, the world ended at the limits of the manor to which he was attached. The unit of government was sufficiently small that each individual could know the workings ethe whole system.

Between 900-1000 A.D., towns sprang up in Europe. They had gained their impe- tus from feudalism, from the increase of land de- ROMOne4que voted to architecture, and from the development of markets by the monasteries. National states were 40nning. England was united under William the Conqueror; France, under Hugh Capet Kingdons'ap- peered in Denmark, Norway, And Sweden. With the establishment of Charlemagne's Palace School the revival of learning began.

To a great measure, the results Gothic of the Crusades helped to mold European civilization for years to come. The breakdown of serfdom resulted from the noble's need for money and his absence during the Crusades. This absence in turn enabled women

, to begin to dominate medieval life, and the Courts of Love developed along with the Cult of the Virgin.'

' By '1000, an economic revival had begun in Europe with the rise of urban centers as a result of increased commerce and industry. Craft and trade guildt came to dominate much of urban life. By the end of this period there existed in France and England .a semblance of legislative, governmental bod- ies. The rising urban middle class was soon to sup- port exploration, the arts, centralized government, religious reforms, and, later, democracy.

MUSIC The rise and fall of Roman civilization, as well as the rise of the Christian church and its spread, is important to the understanding of cultural development. Much of the Roman music was borrowed from the Greeks

Period 300 A.D. - 1400 A.D. 53 MUSIC / CHRONOLOGICAL APPROACH

and was used for festivals and war. The trumpet and drum spoke of conflict in a man's heart, as well as in the life of a people.

However, in the reign of Augus- tus a child was born in Bethelem of Judea, and this Christian event was destined to change the world. A new re- Inguence ligion was born called Christianity. These believers scattered through the Roman world, teaching the doctrine of mercy and peace. In Rome they met with ter- rible persecution, but neither persecution nor the threat of death marred the power of this new faith. Their music was written and performed to serve God. It was a sort of communication between man and God with the church controlling the types and character of music.

Christian music took its form and liturgical order from the Byzantine church and Byzantine Jewish temple and was usually polyphonic. Since Influence instruments were associated with pagan rites, music was vocal. It was-et this qme,that the"Gregorian Chant," the first important music form, appeared. As the church grew, one of the most important musical developments, a liturgy called "the mass," emerged. Secular music was carried on by minstrels and troubadours, bat little of it was written down.

In the Gothic period there was Gothic a break with the past by a gradual swing toward humanism. Harmony, one of the basic elements of Western music, was achieved by polyphony, or counterpoint, and homophony. Architecture, sculpture, painting, and music of the Gothic period were the expression of religion, mysticism, and scholasticism that per- meated the age. Cathedrals were adorned with every art form known to man. Great organs were built into the churches, and Giullaume Machant created a complete polyphonic setting for the mass "Agnus Dei."

ART A/Lehi-tutu/a. When Christian- ity was officially recognized &lay after 313 A.D., it became possible to erect places Christian of worship, called basilicas, which were suitable to the demands of Christian liturgy.

The basilica form was variously treated, not standardized. Some had transepts; some did not. Old St. Peter's Basilica in Rome, built

Period 300 A.D. - 1400 A.D. 54 ART / CHRONOLOGICAL APPROACH

in 333 A.D. and destroyed in the 15th C., was the most famous building of its type. Later a central-

EARLY CHRISTIAN BASILICA

plan church was developed. The dominant structural device was the dome covering the central portion.

Scutptu Sculpture in the round existed, but because of its kinship to "graven images," they were not often produced. There were stone, marble, and ivory relief designs and decorative capitals on columns. Furniture also used inlay and carved reliefs.

Painting. The mosaic decoration of large wall areas and tempera pen and ink illus- trations, known usually as miniatures, were executed for religious manuscripts. Uottut objects. Textiles and weaving became 'Important. The chalice was a product in the field of metal work.

Artchiteeturte. The central-plan Byzantine was almost exclusively used with variations on the (726-14531 Greek cross. Domes covered the cross and domes on pendentives were raised on drums. Interiors were covered with mosaics or frescoes which were executed in strict accordance with observed customs.

Scutptme. Artistic representa- tions of all sacred personaggs were outlawed by the emperor, so artists were forced to flee or express their talents in secular terms during this Iconoclas-

Period 300 A.D. 1400 A.D. 55 ART / CHRONOLOGICAL APPROACH

tic controversy. Carved ornaments were used, but monumental sculptures were never encouraged. The Byzantine sculptor was called upon to carve small statues and reliefs, particularly in ivory, to adorn books and caskets.

Painting. The Iconoclastic controversy was stilled after 843 A.D., which per mitted the portrayal of sacred images; still a rigid system for decoration was enforced.The lovely Ent/I/toned Madonna and CkI2d, painted on wood is such a painting. Ma. The mosaic of this period took precedencniVirpainting. Many had gold backgrounds. The artists distorted pro. portions and elonoted figures. Another characteristic was the negative or reverse values on por- traits (high-lighted areas become dark and shadowed areas light).

WeAut object4. Metal work and textiles were very important adjuncts to other arts. Furniture was covered with metal, ivory, and enamel plaques. Heavy embroidery with metal thread embellished rich vestments. Enamels of the cloisonne type were also used.

Akehiteeturce. Of the few ex- 8artbatieut tent examples of architecture, the Tomb Theodokie (400-150) in Ravenna is the only complete structure remaining with solid masonry, a central-plan, arches, and a dome of a large single stone hollowed into the shape of a saucer.

SWptalte. During these years in this area sculpture disappeared as a technique except for a few isolated workshops in southern France and Italy where early Christian traditions were faithfully preserved. In Ireland many crosses

remain from this period. P . The beginning of Early Medieval paintingn the decoration of manuscripts emerged. The Book oft Ke114 was written and decorated by Irish monks in /00 A.D.

Whiteettme. The Early Chris- Cautigian tian basilica was adapted to the needs of the parish (190-481) and clergy. Basic Roman principles of construction and methods for maintaining harmonious proportions were still available to these stone masons. Innova- tions were choirs for monks in the nave, an apse for

' Period 300 A.D. - 1400 A.D. 56 ART/ CHRONOLOOICAlo APPROACH

royal burial places, and the inclusion of towers.

Ittumadtion. The Caroligian artist of the Palace SchoA at AaChen was the illus- trator of manuscripts of the gospels and other sacred texts. He emphasized surface ornamentation, such as in the Utrecht Psalter, written at Hautvilliors or Reims, France, about 830 A.D. Weiut ogjeetd. Gold book covers and ivory carvings were made It this time, as well as the bronze doors of Cathedral of Hildesheim.

AteWeetuke. The architect Romane4ue of this period had several problems to solve: ob (1000 -100) taining space for large crowds, providing circula- tion, building solid fireproof structures, and ad- mitting light. Some characteristics of buildings of this period were the semi-circular arch; recessed arch; compound arch (one or two arches under one larger arch); increased length of nave; thick, continuous walls of massive, quite closely spaced, piers; stone vaults; intersecting groin vaults; vaults over aisles flanking the nave (thereby carry- ing thrust to thick outer walls); clerestory windows; and simple decorations. Many regional types of the Romanesque existed; England followed closely the Norman types. In Germany and Italy the type was dis- tinctively Romanesque.

ROMANESQUE CROSS SECTION

Period 300 A.D. 1400 A.D. ART / CHRONOLOGICAL APPROACH

As stone buildings began to rise it was4:tvqable that the sculptor turn to surviving Roman sculpture as inspiration. This he did, not only in stone, but inivory carving and metalwork. The sculptor was limited toareas such as different parts of the portals. In the interior he was limited almost exclusively to the capitals and to the alters; therefore, most decorationwas relief sculpture only.

Ptgng. Often the reliefsculp- turewas painted; very little of this survives. Fi. gures and religious scenes were often painted on walls and vaults. Miniatgre. paintings in religiousmanu- scripts continued to be an important monastic activity. tia4dat Frames for miniatures were popular during this era.

POST AND LINTEL ARCH

' Period 300 A.D. - 1400 A.D. 58 Ara / C16003LOOICAL APPROACB

GOTHIC ARC? CORBELED ARCH

Atchaectutz. Gothic archi Goth4e tecture develOped from the Romanesque. Character- (1140-1400) istics of the gothic church are the flying buttress* ribbed vault, tracery windows, stained glass windows, elongated sculptural figures, pointed arches and gargoyles. Examples of the Gothit church are Amiens Cathedral and Notre Come of Chartres which is considered by many'to be the most beautiful ofis type.

Sculptured columns began to dominate face $reilhedrals With kings and queens, the majesty of Christ and the apostles. These were called Royal Portals.puirtplg.it TwO distinct trends existed initnlian pantings of the 13th C. One, Sienese, was distinCtly medieval; the other, Florentine, was More obscure in its origin.

U.St ut ob ee46 Stained glass windows were used aseeryas a fourth century. Examples of this art femare from the Rose Nindow at Chartres. Decorative manUscriptS, bronze cruci- fixes, candlesticks, and ornamental_ liturgical vessels were used during this GothiC'era. 59 Period 300 e.0. - 1400 A.D. LITERATURE / CHRONOLOGICAL APPROACH

LITERATURE During the earlier part of the Middle Ages the spirit of the people was expressed in their mythology andtheir POMONA qut hero stories. In the folk-epics (Be 40 Song og Rotand, and Song oi the Mtbtung4)one sees the war- rior's world of the first half of the medievalper- iod. The group ideal of these times is revealed in the religious literature (particularlythe lives of the saints) and in the morality plays, The purpose of this literature was to instruct thecom- monpeople.

In his "Prologue" to the Can-. te4Ouity Tato, Geoffrey Chaucer illustratesthe problem: "How are hew ways compatible with whatwe have always known?" It remains for Dante Alighieri in The Otvine Comedy to achievea literarY sYothetis of medieval life.

SUPPLEMENTARY N. S. Bennett, We on: the REFERENCES Engash Man0 (Cambridge, 1960); David Douglas, WIttawthe Colt que404: the Nokman bloadt upon England (University Soe.iat Itudi.e4 of California Press, 1964); Anne Fremanthle,Abe04 Faith(Time-Life, 1966)1 Jeffrey, Russell, 044Aent and ,the E Atddta Aga (University of California Press, 1965 ; Gerald Simons, embaly.an Eurcope (Time-Life, 106.).

From EBF, for viewing, are "Major Religions of the World" (20 min. each), "The Medieval Crusades" (28 min.), "The Medieval Guilds" (21 min., "The Medieval' Knights" (22 min.),and "TheMedi)evalManor" (22 min.). Filmstrips from SVE include "The Migration of Medieval Peoples,""Feu- dalism," "The Medieval Church," and °Medieval Towns and Cities." A kit, "History and Culture of Africa," available from Valiant, contains 20 transparencies and 62 overlays.

Recommended 'mate references Mu44.d. are Willi Apell, 0 tan Chant; Hugo Leichtentritt, Wad Hatolly and I (Harvard Press, 1951); and Homer Ulrich, Moak:A Naign ion Liatenag (Har- court-Brace).

For viewing, An Audko-asuat IU6tony of guate (EAV) and Mu4ie 100 (AmericanBook Company). For listening, Muad oi the MiddleAgfa (Lyrichord), Maateviecta of Muad Septa 1150, 60 Period 300 A.D. 1400 A.D. SUPPLEMENTARYREFERENCES autoNotootcAtAPPROACH

Chanson de T4oubadoulta (Harmonia Mundi), Ougo4kan Chant (Columbia).

Suggested cot references are Howard Saelman, Medtevat Akciatectuite (Braziller, 1962)1 H. W. Jansen, Key PonumeAt4 (4 the Wtoty 04Att(PrenticeHall, 1959); John Canady, The Live4 ogthe Pa4ntem (Norton, 1969).

For viewing, "Four Great Chur- ches" (Life), "Art Portrays a Changing World"(Aleman) and "Byzantine Empire"(COronet).

references include. Ute latuite The Middte Ages(CollegtItneSeries); C. S. Lewis, The Attegoty oi Love) A Study tn Medlevat Tudit4oni The PoAtelbte MedtevatReader(Viking).

For viewing, "Mystery of Stone- henge" (McGraw -Hill) and EBF's "The Medieval Guilds," "The Pardoner's Tale," and "Prologue to Canterbury Tales." For listening, Caedmon's °Beowulf, "The Second Shepherd's Play," "Tristan and Iseult," and "Chaucer's Canterbury Tales."

IV. Period 1400 A.D. - 1600 A.D. (The Re1144444ftde)

socIALSTUDIES In part the rise of the wealthy commercial city (the dominant social unit) was responsible for the Renaissance and its early development in Italy. The Spirt of adven- The S ture, which began with the Crusades,culminatedin. ventuu the 16th C. with world -wide exploration. Economic arrangements became a separate field of human Vought.

During this period, the characteristic form of government was autocracy in the pre- dominant forM of absolute, divine-right monarchy. General corruption in the-hierarchy_ethe church led to the Reformation, and ultimately to a trend toward national churches.

The Renaissance stressed the H individual and sacrificed the group, and humanism was transformed from an imitation of classics to a faith Period 1400 A.D. - 1600 A.D. 61 MUSIC / CHRONOLOOICALAPPROACH

in the ability of man. Scientific theory led to Deism, and to a rejection of supernatural,mythical, emotional, and natural law.

MUSIC The essence of the Renaissance is the essence of man himself-ii, a period in history dedicated to the rebirthof claS- sical learning. Materialism and individualismbrought new incentives for living. The church remained the greatest patron of the arts, butmusic moved into the household of the aristocracyas well. The religious music spoke of the serenity ofGod and man. JosO610 des Pres in his "Ave Maria" usedthe most generally used principle of Organization)that of repetition and contrast.

Palestrina reached anew high in liturgical music, Hymns, anthems, motifs, and sacred forms were created by suchcomposers as William. Byrd, Guillaume De Fay, OrlandoGibbons and TOMO Victoria while Don Carlo Gesualdo,Claudio Monteverde, and Thomas Morley excelled inmadrigals and secular forms.

1.Kr AtelatectuAt. During theRenal s. sance the temple was no longer the typical building. Features of the architecture were windows decorated with pediments- either triangular or rounded-overhanging cornices, pilasters,ornamented pediments, domes on drum and small andhigh drums.The most Important French exampleis the Louvre court facade designed by Pierre Lascot andJean Gojon. Italian examples are the Cathedral of Florenceand the Villa Rotunda by Andrea Palladio.

S . Renaissance sculpture began with the broad nauras ic sculpture of the late 14th C. This was infused withnew vitality and movement. Monumental, three dimensional formwith robust energy developed, typifiedby Michelangelo's Amos) Vivid) and Pieta.

Tnfing. Most of the paintings of this period had a re ig ous theme andwere com- missioned for churches.Many of the wealthy honored their patron saints. Other paintings used pagan themes or combined Christian and pagan. Paintersin the north

Period 1400 A.D. - 1600 A.D. 62 LITERATURE / CHRONOLOGICAL APPROACH

remained Gothic in spirit manyyears into the Renaissance. High Renaissance artistswere frequently versatile, working in painting,sculpture, and architecture, as did Michelangelo, whoconsidered himself a sculptor, britwas a genius in many arts.

LITERATURE During the Renaissance,man gained insight into the ancient philosophies without the darkening cloakof the Church HIAM444.4M dinning his vision. The beginning of humanismwas first noted in the writing of Petrarch.

The invention of printing in the 15th C. broadened the growth of learning. Erasamus, the foremost writer during thistime, anticipated the Reformation. With the Reformation came writers such as John Milton and Jonathon Edwards,a Puritan preacher.

Just as the drama became the most popular form of entertainment, culminatingin the works of William Shakespeare andBen Jonson, the favorite literary form was the romantic epic(Spen- ser's ramie queene). Songs and sonnets were also favored lyric forms, suchas chivalric romances (Von Quixite), tales of adventure,fables, allegor- ies, and character sketches.

The prose of this periodwas less than commendable, excepting theessays of. Sir Francis Bacon.

SUPPLEMENTARY John R. Hale, Age oi Exptma- REFERENCES t:on (Time-Life, 1966); Edith Simon, The Reimmation (Time- Life, 1966); G. R. O. Woodward, A ShmtMiaow of Soda Studie4 Sixteenth CentuAy Engtand (Mentor, 1960).

Suggested 'twit references are . Watt Manfred Bukofzer, Studios .in Medtevatand Renai6Aance Music (Norton, 1950) Cecil Gray and Phillip Hazel- tine, Cato Gewatdo, Fiance ogVelt044,Mudsician and Muted; (Paul French, 1926); Oliver Strunk,RenatA- Aance (Norton); Ernest Walker A H44toity o4 Muate a Engtand (Oxford, 1950.

For viewing, Colin Stearne's Muate and the Renaissance (10 films, NET, 1958).

' Period 1400 A.D. - 1600 A.D. 63 SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROACH

For listening, from Nonesuch are "Music of Shakespeare's Time," "Renaissance Vocal Music," and "Renaissance Music for Brass"; from RCA "Masterpieces of Music Before 1750 "; and EAV's "Shakespeare and Music."

Akt references include Okort Pa4nteltA and (heat Pantinga (Reader's Digest As- sociation, 1966); John Can*, The Limea of the WAWA (Norton, 1969); Hans Tietze, Tacd6U1M6 of the (Meat Nattonat Gate/LW (Phaidon); and Lawry Bates, Rena444anee Aukiteotting (Brazlller, 1962).

46 For viewing, Warren Schloat's "The Renaissance" and "Michelangelo," "High Renais- sance" (McGraw-Hill), "Florentine Art of the Golden Age" (National Gallery of Art), andThe Gates of Paradise" (Life).

References to Utehatme of the period are Wad Litekatulte, (lame 2 (College Outline Series); Norman Ault, Ettzabethan LyAte4 (William Sloane Association, 1949); J041 Hollander, ,Jomon (Yale University).

For viewing, from the Encle- clopedia Britannica are "As You Like It," "Hamlet," "Julius Caesar," "Macbeth," "Midsummer Night's Dream," and "Don Quixote." For listening, from Caedmon, are "Everyman," "Sonnets, Shakespeare,""AntoRy and Cleo- patra," "King Lear," and "The Taming of the Shrew"; from Folkway, "Julius Caesar" and "English Ballads."

V. PERIOD 1600 A.D. - 1700 A.D.

SOCIAL STUDIES In England. France, and Russia the monarch continued to reign supreme. In America, where the English were the dominant colonizing force, the agrarian South and the industrial North were established by the end of the century.

In the area of scientific development one thinks immediately of Sir Isaac Newton and his concept of a universe which operated like a

Period 1600 A.D. - 1700 A.D. 64 MMIC / CHRONOLOGICAL APPROACH

machine, with God becoming a sort of celestial stationary engineer.

Liberalism and naturalism found expression in the writing of John Locke, who based his entire thought upon the idea that there isa "natural law" which operates in the affairs ofmen in their political problems.

MUSIC The term baroque may well des- cribe the 17th C. style in the &moque arts. in music there were two main lines of development: opera with arias and recitatives, oratorios and cantatas. Thera was an emancipation of instrumental music. For the first time two styles were purposely used together-the old of the Renaissance and the modern ornamented style of the baroque.

Tonality as a basic concept brought about new ideas. Homophony became as important as polyphony. Johann Sebastian Bach and George Fredrick Handel were "the giants" of this period, but the music of Giovanni Gabrielit Domenico Scarlatti and Antonio Vivaldi captured the spirit of the baroque.

ART Bauque often refers to the art of the 17th C. The term may Come from the Portuguese, bomocos meaning ut "irregularly shaped pearl." and Akehtteetuke. In baroque architecture the space became independent and alive. Rococo Facades wore independent of the mass andspace in the buildings. Piers and columns became massive and forceful while landscaping, sculpture, and painting became as a unit. This period was one of the most dynamic in the history of western culture.

In the rococo buildings, space was subdivided and diffuseC Light was abundant and revealing. Murals on walls and ceiling were anex- tension of the architecture and a feeling of airy cheerfulness prevailed.

In Italy one of the giants of. baroque was Gian Lorenzo Bernini, who conceived the

Period 1600 A.D. - 1700 A.D. 65 ART / CHROHOLOONAL APPROACH

Palazzo Chiri Odescalchi in Rome. In France, Jules Hardouin Mansart built Church Of Les Invalides in. Paris. In Austria and Germany, because of the Thirty Years War, the economic level was low. There was no High Baroque period until very late in the 17th C.; however, JohnnOientzenhoger designed the Abby Church in Danz, Germany.

In England, Indigo Jones and Sir Christopher Wren were perhaps the most famous of architects.The rococo in Italy was expressed by Flippo Raguzzini with his Piazzo S. Ignagio in Rome.

Settpfurte. At this time sculpture was an integral part of architecture and landscaping, for example, the Baldachin over the high' altar in St. Peter's in Rome.

Pattng. A staggering quan. tity of many kinds of painngs were produced at" one time throughout Europe. flost art historians present this period geographically, even though artists were beginning to move frequently from place to place. Thus even national boundaries lost their meanings as to the culture of this time.

Renaissance art had been Pri- marily religious. Now, in addition to religious paintings, art in many instances were executed to popularize truths about the State, and resulted oftentimes in persuasive art that sometimes verged on propaganda.

In England, paintings were taking a different direction with the work of William Hogarth, who did a series of scenes from "Marriage a la Mode." Peter Paul Rubens and Sir Anthony van Dyke were Flemish painters during this era.

LITERATURE The 17th C. was heralded by a wave of intellectual, spiritual Saitoque and physical activity. In this age the lofty verse of John Milton and John Dryden, as well as the meta- physical conceits of John Donne, expressed the intellectual spirit.

At the same time the cavalier

' Period 1600 A.D. - 1700 A.D. 66 SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROACH

poets manifested in their verse an underlying pessimism which scientific discoveries invariably foster in any century.

Restoration drama was brilliant, but morally lax. In America the literature was functional for the most part, consisting of diaries, sermons, letters, and histories.

SUPPLEMENTARY The AnmAX4 oi Amehica, Vow I REFERENCES (EBE, 1969); G. B. Aylmer, Shopa Htat'ohy oiSeventeenth Centuhy engtand (Mentor, 1960); Charles Blitzero Age Soetat Studtea oi,Ktnga (Time-Lice, 1967); Godfrey Davis, The Eahty Staahta, 1603-1660 (Oxford University Press, 1969); Stuart Hampshire, The Age oi Reaaon (Mentor, 1966).

Suggested mate references are Mu44.c Manfred Bukofzer, Maate in the 8ahoque Exa (Norton, 1947); and Hugo Leichentritt, *hid Hi4to4y and 1444 (Harvard Press, 1940).

For viewing, "Handel and His Music" (Coronet, 1957), "Time for Bach" (Film Image, 1960),"Great Composers" (EBF), "Instruments of the Orchestra" (EAV). For listening, "Growth of instrumental Music" (EAV), "Riches of the Baroque" (Educational Record Sales), and "Tonal Counterpoint" (Educational Record Sales).

Att references include Henry A. Millon, Sahoque and Rococo Atehiteetuke (Bra- ziller, 1961) and Hans Tietze, The44uht4 o6 the Great Nationat Gattettea (Phaidon, 1954).

For viewing, Warren Schloat's "The Baroque" and "The Enlightenment," and "The Baroque" (McGraw-Hill series).

References to ate/tame are LI-teicattche Encyclopedia Britannica's "Paradise Lost" for viewing and for listening, Caednon's "Paradise Lost" and "Eng- lish Poetry: 17th C."

' Period 1600 A.D 1700 A.D. 67 SOCIAL STUDIES / CHRONOLOGICAL APPROACH

VI. PERIOD 1700 A.D. 1800 A.D.

SOCIAL STUDIES During the 18th C., social philosophers (Diderot, Rous- seau, and Kant) influenced the thinking of their The Age (4 own countrymen and, in some instances, precipitated Retool revolutionary reaction beyond their own boundaries.

Also making their appearance were social scientists historians, political wri-- ters, and social satirists. Particularly associated with this development were. Adam Smith, Edward Gibbon, Jonathon Swift, Thomas Paine, Benjamin Franklin, Alexander Hamilton, and JObn Jay.

In America, geographic advan- tages, the brilliant leadership of Washington, and Tice Age of substantial aid from the French contributedtothe Revolution: final success of the undertakitig. Colonial forces were strengthened by freedom seeking Negroes, who Ainefaut had been promised their freedom in exchange for fighting. Negroes in the 18th C. Colonial period ,t also contributed to the history of the United States in the advancement of medicine, literature, politics, and architecture.

In France,- whore reforms were AMU long overdue, the Third Estate declared themselves a National Assemblyand shortly before the end of the 18th C., feudalism in France had ended.LouiS XIV had been executed as a traitor, and a strong military dictator, Napoleon, had becomeEmperor.

Because Great Britain had suffered less from invasion or civil war, it was Induaticiat natural that the Industrial Revolution should begin there. It was first felt in the textile industry, but by no means ended there. Immediate and projected results on both sides of the water were the appearance of the factory system, the trend toward urban- ization, the development of the working class, the development of corporations, the formation of labor unions-and the resultant myrpd attendant abuse. and problems.

MUSIC During this era there came a revolution in all phases of life. Because reason was thought necessary for

Period 1700 A.D. - 1800 A.D. 68 ART / CHRONOLOGICAL APPROACH

success in any endeavor, the period has been called Roue.° the "Age of Reason." It was a century of order and symmetry. Everything was formalized through intellect. There was an urge for intellectual, political, spiri. tual, and artistic freedom. A style called two emerged and dominated the period for a time. This style emphasized pleasantness and beauty.

Another movement, neoct4664.- eimn, sought to express the classic ideas from Greece and Rome. While music did not succumb to Neoetaaaatam the rococo spirit, it was indeed influenced and the lasting classic period emerged.

Some of the world's great music came from this period in the perfect creations of Mozart and Haydn. The operatic works of Mozart Matte (The 114a4e Ftute and The Wittage o6 Filgalgo) and the symphonies of Haydn (The London and The Ctoeh) are inspiring examples.

ART Ateh4teetuAe. The emigrants to America hurriedly constructed shelters of a "make-shift" type; any enclosure could become a shelter. When houses of any perman- ence were constructed they were of the type known to them in Europe, crude wattle and daub, thatched roof structures, little if any better than the huts- and wigwams of the Indians.

Later in the South, where abundant materials were available, homes were constructed of brick, stone, and wood. The oldest home still standing in the Southern colonies is the Adam Throughgood house (1636) in Princess Anne County, Virginia. The first brick house had been built in 1612.

0 New England the homes followed the exposed wood frame, filled with wattle and clay, topped with steep gabled roofs.The Hou6e og Seven Gabte6, Salem, Massachusetts, built in 1668 is an example of a sturdy, draft-proof home with clapboard covering. Around 1640 the Swedes brought to the United States the to cabin. This was quickly accepted and became the traditional home of the pioneer.

Southern homes before 1800 were built of brick, weather-board and log. Some characteristics were chimneys for each room at the 69 Period 1700 A.D. - 1800 A.D. ART / CHRONOLOGICAL APPROACH

ends of the house and large windows, for example, Ckagont in Sumner County, Tennessee. Notable buildings before 1800 are Montieetto, designed by Thomas Jefferson and the buildings at Williamsburg, Virginia.

$ Me. The first sculpture in America was baiically useful. Tools were made by hand, many with decorative handles, created with respect for the material and for the use to which the object was to be put. Weather vanes, decoys and children's toys were made by the early American craftsman or.Perhapaby the pioneer himself. Some of the early tombstones were objects of beauty and pathos.

P :-The first' Amer- . -ion painters were $ $ 'OrOvided,01400e aig0 for stores and tavernso-..TwofamouS early were of little Margaret.GibbsA1670) and,OCAnn Pollard (1721) both anonymous and exaMpleS-WlimOing at its height.

LITERATURE 'The ,classie or 4of Enlightenmento", in Eng iShAtiter;., ature brings to mind thethe- rationalistic rationalistic 'views of-the- century aS expressed by POPeAn E4W4ITOk Mani It wad an era of brilliant'Obiltiol and so4vel satire,,exeMplifiedin the works-of_Johetheti $Wift, Richard Sheridan, and Voltaire. The beginningS-of- the Romantic spirit find theirexpression in the poetry of Thomas Gray and Robert OUrn$,

In America the pen proved mightier than the sword in thefierypropaganda of Thomas Paine andPatrickHeory,'thq poetry of'OhiliP Freneau, and the dignified prOse of Thomas JefferSON,_ authorolthe Deotoution of inde00400.:'10 the' life and writings Of Benjamin rranklini-the'pictuM of "the complete American' began to emerge.

SUPPLEMENTARY Peter 0,0$Rat- _ 440itrelltt IVO tiqOp. Li fe SO) 1(46040ATELOW Cc*Ay 4040:(Ment0 OVAItiof TtAidt- 64 4 ,4 d -; 1,0T106,, # Oki an hiveriity 'itg- hicagCo-91407V ,4444Iia6 SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROACH

Additional references for viewing include "The Development of the American Republic" (SVE), "The American Revolution",and "The Industrial Revolution" from EBF, "A New World and a New Hope," "The English Settlements," "Establishing Social Life in a Wilderness," "Revolution and In- dependence," "A New Experiment and a New Nation," and "The Development of the Thirteen Colonies."

Suggested mluAte works are Mute Charles Burney, An Eighteenth CentuAy TouA do CentAat Europe and the NetheAtand4 (Oxford, 1969); Adam Carse, The 0Athe4tia in the Ekghteenth CeAtUhy (Cambridge, 1940); E. J. Dent, Moza4ti4 OpeA44 (Oxford, 1945); Kar'r Geiringer, A Creative Lt4e tn Mu4te (Norton, 1946).

Filmstrips recommended are "Don Giovanni" (EAV), "Marriage of Figaro" (Brandon), "Mozart and His Music" (Coronet), "Castle in Seville" and "Magic Flute" (Hoffberg. Recordings include "Surprise Symphony" (Columbia), "Sonata in D" (Colum- bia), and "Classicism and the Sonata Form" (Education Record Sales).

References related to art are Alexander kliot, 300 Vow o can Painting (Time-Life); Albert Gardner, Amekte4n S uhe (Meto- politan Museum of Art, 1965); JaMes Thomas Fletcher, FiA4t Ftoweu oi Otalgademe44 (Dover, 1047); r1r1. Haller, tkOM Tepee4 to TOWA (Little, Brown ar Com- pany, 1967); Edwin Hoag, AsneM.can Hot/4u; Coto Ctatmic and Contempaq(Lippincott,1967); and Lewis Mumford, Stick and Stow (Dover,1955).

For viewing are the National Art Gallery Slide lectures, which include "Starve), of American Paintings,""AMericah Textiles,""AMerican Paintings in History"; and "talk AW from the Abby_ Aldrich Rockefeller Museum (Colonial WilliemsbOrg, Inc.)

References related to ttteta- are abunOnt; howeye, 14244toke'llaist 2 frkm the Oile0-0004ile Seri4 4 rfPoWenaed4- liSteh60ore-4edments-loben oft;LOYe-$000 fr66*kenArts he -

.a -4- 1766 `Aid. 3 1800 Ai SOCIAL STUO/ES/ CHRONOLOGICAL APPROACH

VII. PERIOD 1800 A.D. - 1900 A.D.

SOCIAL MIMES By 1800, the population of the United States exceeded five United States: million. Rivers soon became national highways, and the nationalist decisions of John Marshall, together NatUnatZ4m and with the team of John Adams and James Monroe, brought Statonaatm America into a position of national prominence.

However, the three major areas of the United States ware following different lines of development, and Jackson's presidential victory swung the political center of gravity away from the Eastern seaboard. Early slave revolts intensified the feeling of the South and drew attention to Gabriel Prosser in Virginia, Denmark Versey in South Carolina, and Nat Turner in Virginia.

During the late 18th and early 19th C., the British sided with the French in expres- Eutaw sion of "Liberty, Equality, Fraternity"--basic tenets of romanticism. Reforms resulted in the organization Ramantittam and of Sunday schools, the building of hospitals, and movements to reform the prisons, free the slaves, and regulate the conditions of child labor.

With Napoleon's plan of conquest of Europe, England became allied with other nations in all-out war against Franie. Attempts toward unification in Italy and Germany failed until the middle of the c'intury. The Congress of Vienna set the course of E'Jrope for thirty-five years.

During the middle and latter &mope and part of the 19th'C.,,the United States was character- At United Stated ized by separatism and reunion, further expansion, the final sectional rupture, Reconstruction and post- Reconstruction, and, finally, increased industriali- zation resulting from vast natural resources.

In Europe, Victoria and her consort reigned in England for sixty years, and the British faced the problems of coping with the "sins" of the Industrial Revolution. Reaction to Charles Darwin's O/c gin oi the Speeit4 (1859) ranged from doubt to despair.

Period1800A.D. -1900 A.D. 72 MUSIC / CORONOLOGICAL APPOOACH

Both Germany and Italy saw periods of imperialism and unification under Kaiser William and Victor Emmanuel, respectively. In Ger- many, writer-thinker Friedrich Nietzsche accurately predicted the era of great ideological wars and influenced Germany with his concept of the°yeoman (superman).

MOST Romantic is the term used to designate the style of art and literature of the 19th C.Music was a more ef- RomanticiAm fective medium of expression than the visualarts.

Emphasis was placed on individual freedom and music provided opportunityfor free expression. Composers became independent of patrons. While orchestras grew larger andmore proficient, orchestration became more elaborate and complex. Composers introduced freer and more varied forms of music within a wider span of tempos and dynamics. They strove for emotional tension and dramaticcon- trasts by postponing the resolution of their sounds, by moving into different keys, by moving the melodic lines chromaticafly, and by compounding theirmeter with syncopation.

The three favorite mediums expression for the romantic composerwere the orchestra, the piano, and the human voice. Through these mediums, outstanding composers produced significant music, with many writing in forms for all three.

Ludwig von Beethoven's music was intensely exprev.ive and pointed theway to the passionate outpourinu of the Romanticist. Carl Maria von Weber, Giachino Rossini, Charles Gounod, and Richard Wagner excelled inopera.

A growing consciousness of facts and world problems of reality brought about expressiono; concerned with actualities. Realism in music lay in the rise of program music (music with an extra-musical idea which often told stories and painted pictures). The orchestra became a concert organization, providing a suitable medium

Period 1800 A.D. 1900 A.D.

13 MUSIC / CHRONOLOGICAL APPROACH

for the realist expression. Composers who excelled in this area were Hector Berlioz, RichardWagner, Franz Liszt, Richard Strauss, George Bizet, Camille Saint-Saens, Antonia Dvorak, Jules Massenet, Alexan- der Borodino and Rimsky-Korsokoff.

. Romantic and realistic art has reflected an expression of the struggle for freedom and liberation On a personal basis, but when the col. lective efforts of a people are directed toward free. dom and liberty, we have nationat44m. This musical application of the romantic spirit to the sovereign states was strongest among the Czechs, Russians, and Poles, and was clearly reflected in the works of Frederick Smetana, Peter Tchaikovsky, and Modest Moussorgsky. Edward Grieg was a champion of Norweg- ian nationalism. ,Jean Sebelius expressed love for his country in "Finlandia."

The later romantics related the total art expression to the impressionist movement. The fervent outpouring of the romanticist decreased, and new ideas produced vague suggestions of mood and atmosphere. Stimulated by the paintings of Claude Monet, Debussy sought to express, shimmering effects of light and shades by means of tone color and chordal , structure. His music is almost formless in itsvague melodic and harmonic structure. Debussy was the greatest creator of ixpressionist music,but Dttorino ResPighi and Manuel de Fall worked successfullyin this style.

ART AAchitectuft. The styles of antiquity were in great vogue during most of the 19th C. This can be seen in the Corinthian order in the additions to theCapitol in Washington, D. C.

Technological developments, which were produced during the Industrial Age,gave rise to new types of buildings during thelatter part of the century. Standardization of parts enabled prefabrication. The Cnotat Watt in London, de signed by Sir John Paxton,was almost entirely made of iron and glass.

Domestic architecture followed

' Period 1800 A.D. 1900 A.D. 14 ART / CHRONOLOGICAL APPROACH

these patterns: Tudor colonial, Georgian colonial, Dutch colonial, Queen Anne, Greek revival, and Gothic revival. Late Victorian architecture was popular during the last third of the 19th C. Examples are the Carson Mansion, Eureka, California; the Tennessee State Penitentiary, and Nashville Union Station. Late 19th C.buildings of interest are Carson, Perla, and Scott.in Chicago, designed by Louis Sullivani and the Marshall Field warehouse by Henry Hobson Richard- son.

Scutt/IA. During the 19th C. sculpture was relatively unimportant. Painting was the dominant form of expression. Some of the best sculpture at this time was done by painters, such as Daumier, Degas, and Renoir. The most important sculptors were Auguste Rodin, who created The Thtnken, Tice Butgheu o Cattaia, and Lea Tkoi4 Ombhea, and Francoise Rule, who designed the relief for-the Me de TAiomphe. In America sculpture was almost limited to the bust of the famous or monuments to the great.

In France, this century began with an artP termed neoelaaatc. The most creative painter was Jacques Louis David, who became 'official painter to the Republic. In the latter part of the 11 OD's the Infmeaziontat movement began with Edward Monet., Claude Monet, Auguste Renoir, and George Seurat. In Spain Francisco GOYa was foremost among the Spanish painters. Some his paintings are Loa Apaitho4 4 series of eight etchings for which he was denounced by authorities of the church), The Deaatem o Wait (series), and The Bu/14 o Bouttaux.

England produced several outstanding painters at this time: John Constable, John M. H. Turner, and William Blake. An American ex- patriate, James McNeil Whistler, was also among their ranks.

American painting of the 19th C. was of several schools:the primitives, painters of miniatures, genre painters, landscape and Hudson River painters. Outstanding artists were Edward Hicks, Ed- ward Green Malbone, Eastman Johnson, Albert Bierstadt, and John James Audubon.

Period 1800 A.D. - 1900 A.D.

is LITERATURE / CHRONOLOGICAL APPROACH

LITERATURE The literature of the 19th C. fells roughly into four eate- ries: tcomanUe, mattate, nationaVatteand 44.antatte. The romantic era is associated with the poetry of Wordsworth, Coleridge, Byron, Rostant Le.Lain Shelley, Keats, Bryant, Poe, Whittier, Longfellow, and Holmes.

In the short stories and novels of Washington Irving, Herman Melville, and Nathaniel Hawthorne, one finds thepreoccupation with thePaSt, the concern with man's moral functions, and there- jection of intellect as prime motivator in life.

Ralph Waldo Emerson and Henry Thoreau in their philosophical essayS extolledthe beauties of nature and insisted Upen,the,individUal's obligation to himself., Johann Goethe, in his master work "Faust," united the elements of activity and design and romanticism and classicism.

Rea Gibm Realism, which reached its peak in the mid- and late 1800's, ls characterizedby a rejection of middle-class ideals, individualism, and restraint. Literary figures who best exemplify these characteristics are Charles Dickens, Walt Whit- man, Henry James, Mark Twain, William Dean Howells, and. Guy de Maupassant.

A tendency toward pessimitm and a determination to depict the harsh realities of life and the basic weakness and inhumanity ofman are illustrated in the works of Emile Zola, Henriok Ibsen, Theodore Dreiser, Anton Chekhov, Stephen Crane, and Thomas Hardy.

Nationalism as a literary trait of the 19th C. found its best expression inthe folk Nationattsm tales dealing with Paul Bunyan, DavyCrockett, Mike Fink, and Johnny Appleseed. One must not overlook E. E. Hale's "A Man Withouta Country," Mark Twain's The Innocents Abroad and Ibsen's Pea Gynt.

The sensory perceptions of Jewett, Mallarme, Materllnck, Dickinson, andVerlaine Irpaestioni4m are an embodiment of the impressionistic writings of the 19th C.

Period 1800 A.D. - 1900 A.D. A 16 SUPPLEMENTARY REFERENCES / CHPONOLOOICAL APPROACH

SUPPLEMENTARY Samuel G.Burchell, Age 06 REFERENCES Paogae44 (Time-Life, 1966); Henry D. Aiken, The Age 06 Soe,tot Studio Ideotogy (Mentor, 1963); The Vawin Reader, ed. by Marston Bates and Philip S. Humphrey (Scribner, 1957); The Mega° 2n Ameaican Ht4toky, Votume4 2 and 3 (Ben- ton, 1969); Arthur Schlesinger, The American a4 Repamea (Harvard University Press, 1950).

Forviewingare "The Westward Movement," "Meet Mr. Lincoln," "The Plantation South" from EBF.

?hate references suggested are Mu4tc Gilbert Chase, Amet2eala Maate (McGraw-Hill, 1966); Alfred Einstein, Alu42e 2n the RomanticEM(Norton, 1947); Donald Grout, A Shoat Ni4toay og Opeka (Colum- bia University Press, 1947); and Arthur W. Locks, Muait and Romantic Movement 2n Mance (E. P. Dutton, 1920).

Available for viewing are "Carmen," "Gems of Song," "Paderewski Concert," "The String Choir," "The Great Waltz," "Barber of Seville," and "Don Pasquale." For listening, "Lyric Suite" (Victor), "Les Preludes" (Columbia)", "New World Symphony" (Columbia), and "H.M.S. Pinafore" (Angel).

Suggested for viewing in re- Ant lation to ant are "Goya" (Artemis), "Impressionist Paintings" (McGraw-Hill Slide Series), "The Modernist" (Life), the American Painting Series, parts II and III (Life:, and thc National Gallery slides.

Relating to titeutute are Uteitatwte Woad Li tetatuae and Ammican Liteaatute from the College Outline Series; "Mark Twain's America" (McGraw- Hill) and "Mark Twain Gives and Interview" (Coronet), for viewing; and for listening, Caedmon's "Camille," "Coleridge," "Hawthorne Tales," "Keats' Poetry," and "Poems and Tales of Edgar Allan Poe."

Period 1800 A.D. - 1900 A.D.

71 SOCIAL STUDIES / CHRONOLOGICAL APPROACH

III. PERIOD 1900 . PRESENT

SOCIAL STUDIES In 20th C. man we find little of the optimism characteristic of the 19th C.Two world wars, a depression, a cold war, andmilitary action on two Eastern fronts have given man little confidence in the future.

An age of violencepossibly fostered by the influehce of Social Darwinism and Nazism, has resulted in an unprecedented rise .in crime- -and the tragic and brutal assassination of Some of the world's Strongest spokesmen.

"Mass man" has emerged, while on the other hand, the individualcontinues to Strug- gle against conformity, Feelings Of personal in-; security have culminated in such reactions as racism, totalitarianism, fatalism, and drug addiction. The world, it is said, is running out of room--and pure water and air.

There has been positive achieve- ment, too. In atomic power, a new dimension has been added to peace, as well as war. Scientists and engin- eers have put space at man's disposal. The Black voice, rtoo long ignored, has become an active irritant to the sluwbering conscience of the "uninvolved." Young adults demand more meaningful curricula in education and more voice in administrative policy-making; ad ministrators who are aware are attempting to fulfill these demands.

As the world has grown smaller, man's opportunity to know more of it'has increased, and the pursuit of culture, formerly limited to the affluent, Is within the means of the blue-collar work- er. Dramatic cures for crippling diseases have been effected, and breakthroughs in the arresting of killer diseases are indicated.

If we can learn nothing else, we can know that men in,the Western world havefaced at least five periods of chaos before, and that from each of these periods has come a worthy design for

' Period 1900 A.D. - Present

1$ MUSIC / CHRONOLOGICAL APPROACH

living. The test lies in individual response and attitude; if man is to attain a personal pattern for life which is constructive and fulfulling, it would seem that the search for this patter% is in- cumbent upon him.

MUSIC The 20th C. has seen drastic Changes in our way of life, and as always, the arts reflect the forces of the age. Modern music is bewildering to some, for it seems to lack order in the elements. Composers, to be totally creative, sought new dimensions of expression.

In this time of multi-media experiences, writers of music established new ideas melodically, harmonically and rhythmically. Form became relatively unimportant, and dissonance became a part of the expression, as experimentation produced musical sounds which characterized many SeAtoaa 20th C. works.Arnold Schoenberg, Igor Stravinsky, Muate Bela Bartok, Paul Hindemith are among those who make valuable contributions to the present day scene. In America, Ives, Copland, Sessions) Riegger, andPiston have contributed masterful works to the contemporary repertoire.

More and more modern music has been inspired through drama and dance, show mu- Show MuAtc sic, and background music for radio and televisioh. Irvin Berlin, George Gershwin, Jerome Kern, Cole Porter, Leonard Bernstein, and Richard Rodgers are among many "hall of fame" composers.

Modern jazz has charted new courses, created new styles and forms, and added Jazz new enthusiasm and interest to "Music, 1970."Jazz, as did art music, developed from folk music. The two main sources for this expression were Europe and Africa.

The origin and development of folk, pop, and rock vividly pictums man's problems through the years. Nashville, Tennessee, "Music City, USA," offers through its recording industry,

Period 1900 A.D. - Present 19 ART / (=moo= APPROACH

'Grand 01' Opry," country music stars, and programming throughout the world a significant force in contemporary music today.

Developments in physical and electronic acoustics have opened ways for great experiments in musical tone production. Outstanding men in this field of endeavor include Milton Babbit and Gilbert Trythall.

ART Auhttettuke. During the last Winenturies a new architecture has emerged with industrialism as its core. The Bauhaus, a school formed by Walter Gropius in Germany in the early 1900's, is of utmost importance in a study of our architecture today. It sought solutions for problems concerning housing, urban planning, and mass production while stressing creativity. His design for the Bauhaus building established the principles for the intemutionut 4tyte.

Meis von der Rohe, one of the founders of modern architecture, has many buildings to his credit: the German pavilion; built for the International Exposition at Barcelona; and the Illinois Institute of Technology in Chicago; the Seagram building in New York.

Frank Lloyd Wright has produced more outstanding examples of his work than most architects. From homes to museums to office buildings, all are equally superior: the Solomon Guggenheim Museum, Johnson Wax building, and two homes, Taliesain East and Taliesain West. Other architects of note are Paul Randolph, Eero Saarinen, and Edward Stone.

pritutte Sculpture has again become popular, after be ng ratherh unimportant during the last century. Today as never before, sculptors are working in a vast amount of new and unusual materials.

England's Henry Moore is noted for his monumental garden figures of metal.Metals have always been popular with the sculptor, from earliest-time, and now with methods of casting available, it is more so. Artists working in metal include

Period 1900 A.D. - Present

80 ART / CHRONOLOGICAL APPROACH

Jacques Lipschitz, Constantin Broncusi, andDavid Smith.

Many of the current pop scull)ts tors work in a variety of materialson the same design; their work is termed mixed medta.Claes 01- denburg and George Segal combine plasterwith "ready - mades. " Others use parts of scrap metalor parts of furniture and plastics to give form totheir ideas.

Of interest to Nashvillians are the followitlg sculptures and/or sculptors:Puryear Him's cast metal sculpturesdepicting history of Tennessee, located around the Cordell HullBuilding on Capitol Hill; William Edmondson, a primitive of Nashville, who before his death achieved fameas a sculptor, mainly of small figures (someare in the Children's Museum); and Kahlil Gibran,whose uncle wrote The Prophet, is represented in thepermanent collection at Cheekwood by the metal sculpture Kept; and Lin Emery was the creator of the metalfountain sculpture in the new Third National Bank lobby.

Other groups were the German expressionists (Franz Marc), the Blue Ridergroup (Yassily Kandinsky), the cubists (JuanGris and Pablo Picasso), the futuristsMarcel Duchamp), the suprematists (Kazimir Malevich, and the surrealists

(Salvador Dali and Yves Tanguy .

Igl. The first signs of a new and specifically . movement in painting appeared in 1905. The major movements are varied, and many artists who changed their styles of painting over the years could be placed with a number of different schools.

Le4 lictuve6 were a group of painters under the leadership of Henri Matissi, whose paintings were so colorful and btilliant irate critits labeled the "fauves" (wild beasts).

In America, "The Eight," or "ashcan" school, reported urban life honestly and were little interested in the formal problems which the European painters set for themselves (Robert Henri, George Luks, Everett Shinn).

Additional American groups include the social realists, critical realists, abstract expressionists, Northwestern School, new realists, pop art, hard-edge and op artists. 81 Period 1900 A.D. - Present LITERATURE / CHRONOLOGICAL APPROACH

LITERATURE The 20th C. writer In his search for new sets of values has in- volved himself with a considerable emphasis on the emotions, intuition, and action. This century is, too, a period marked by pessimism, disillusionment, and skepticism. We find a reflection of this unrest in the disappearance of metrical forms in all literary modes of expression, including entertainment media.

Among those writers who best reflect the characteristics of the age in the areas of the novel and short story are James Joyce, William Faulkner, John Steinbeck, Ernest Hemingway, Albert Camas, Truman Capote, and James Baldwin.

These same characteristics are borne out in the dramatic writing of Eugene O'Neill, Tennessee Williams, George Bernard Shaw, Jean Paul Sartre, Oscar Wilde, Sean O'Casey, T. S. Eliot, and Arthur Miller.

Poets who reflect both optimism and despair are Carl Sandburg, Robert Frost, A. E. Housman, Langston Hughes, Countee Cullen, James Weldon Johnson, Edgar Lee Master, Dylan Thomas, and Lawrence Ferlinghetti.

SUPPLEMENTARY Morton White, The Age 04 Andy- REFERENCES 44 (Mentor, 1960); Joel Colton, TwentiethCentulty(Time-Life, Soda Studied 1968)i Arthur Schlesinger, The Coming o4 the New Cleat(Houghton, 1959);Robert Penn Warren, Who Speaks 4o4 the Neg4o? (Random, 1965); Martin Luther King, Tituntxt o6 Conscience (Harper, 1968) and Why We Can't Wait (Harper, 1964); Stuart Chase, The PAopek Study o4 Mankind (Harper, 1962); George Stewart, Not So Rtch A4 You Think: Carthage, Smog, and Sewage (Hough- ton-Mifflin, 1968).

Among the numerous films available for viewing are "Brotherhood of Man" (Contempor- ary Films), "Hollywood: The Golden Years" (Sterling), "A City Decides" (Contemporary Films), and "Minds of Men" (UNESCO). Guidance Associates has a series which includes "The Search for Black Identity,"

Period 1900 A.D. - Present 82 SUPPLEMENTARY REFERENCES / CHRONOLOGICAL APPROACH

"Proud Heritage from West Africa," "Martin Luther King," "Malcolm X," and "The Black Odyssey:Migra- tion to the Cities." Recommended listening includes "But I Am Somebody" (Pete), "Israel Is Born" (Caed- mon), Edward R. Murrow's "Reporter Remembers" (Colum- bia).

Mu4Ste Mai@ references suggested are Leonard Bernstein, Young Peopted Conce0,4 ioh Read- ing and Li4tenag (Simon-Schuster, 1962); Isaac Goldberg, tin Pan Attey (Ungar, 1961); Langston Hughes and Arne Bontemps, Book o6 NegAo F0024ht (Dodd and Mead, 1958); Henry Pleasants, The Agony o Modem Mosta (Simon-Schuster, 1955); and Marshall Stearns, The Stony 06 Jazz (Oxford University Press, 1956).

For listening, are "Applachian Spring" (Contemporary), "The Medium" (Athena), "The Threepenny Opera (Brandon),"Copland's Billy the Kid" (Mercury), "BrittensCeremonyof Carols" (London), and "Ensembles for Synthesizers" (Columbia).

Recommended for reference to ant are Joshua Taylor, LeaAning to Look (University of Chicago Press, 1957); Bernard Myer, Modem AAt in the Making (McGraw-Hill, 1950); Frederick Gore, Abatuet Aht (Crown); John Bauer, American AAt 06 OuA CentuAy (Praeger, 1960).

For viewing Are "Pablo Picasso (Eye-Gate), Famous Artist at Work. Series, "Physics and Painting" (National Gallery); and Rhinehold Visu- als (a portfolio of over 20 large, stiff reproductins on various topics).

Titles of literary works that Litaattat prove helpful include James Joyce, Poktuit 0$the A'CL as a. Young Man; William Faulkner, The Sound and the Fury; John Steinbeck, 06 Mice and Men; Sinclair Lewis, Ulla OantAy, Main Street, Babbitt.

Dramatic works include Shaw's Pygmation, O'Neill's The Iceman Cometh, Williams's The Ota44 Menagerie, and Wilde's Satome. For viewing, "A,Child's Christmas in Wales" (Contemporary), "Our Town" (E8F), and "Yeats Country" (International Films).

Period 1900 A.D. - Present